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HOW TO MAKE AND HOW TO MEND 


x 


First EDITION 


Repr 


inted — 


HOW TO MAKE 


AND 


HOW TO MEND 


BY 


AN AMATEUR MECHANIC 


NEW YORK: THE MACMILLAN COMPANY 
LONDON: GEORGE ALLEN & UNWIN LTD. 


PUBLISHER'S NOTE. 


An Appendix is added to this edition, thereby bringing it up to 
date in regard to matters of considerable importance. 

The extra matter necessarily encroaches on the province of the 
expert, but the information given will be useful in preventing an 
awkward difficulty becoming a serious disadvantage. 

The few extra hints will, it is hoped, increase the value of the work, 
by furnishing particulars that will frequently save time, money, and 
annoyance. 


SOME OPINIONS OF THE PRESS. 


‘*One of those interesting books with innumerable recipes and dodges 
of all kinds which invariably comes in useful if kept always handy.” — 
Model Engineer... 


‘Tt contains briet but concise instructions for the manufacture of a 
hundred and one articles necessary in the house and garden, as well as 
hints as to- the method of restoring, cleaning and repairing almost every 
article of common household use. It would be hardly possible to compress 
a greater quantity of useful information into the 200 pages.”—WVot¢s 
Guardian. 


‘In this little book the reader may learn how to make.anything from 
a balloon to a feather bed.’’—Land and Water. 


‘* A most useful household book, and to those who aie of an inventive 
turn of mind a positive treasure.” —Literary World. 


‘A most useful little work. With a fair amount of ingenuity and a 
few tools one might save pounds a year in the way of small household 
repairs and small improvements.” —Cargenter assed Builder, 


‘¢ This admirable little volume.’’—Dundee Advertiser. 


~ ” 9, Feces et 


; . All rights reserved. 


PY re gg = ~ i > Por he werry se Cr ade 
> . f 


PRINTED IN GREAT BRITAIN BY 
THE ABERDEEN UNIVERSITY PRESS LTD,, ABERDEEN, ~— 


THE GETTY Cewi ER 
LIGRARY 


HOW TO MAKE AND HOW TO MEND. 


AEOLIAN HARP. Make a box 
of very thin pine, cedar or other 
soft wood, 5 to 6 in. deep x 7 to 8 
in. wide, and as long as the window 
in which it is to be placed is broad. 
Glue two strips of wood across the 
top, one near each end, 3 in. high 
x tin. thick, for bridges. Into each 
end of the box insert wooden pins, 
similar to those used for violins, 
and where they enter glue a piece 
of wood on the inside of the box to 
give strength. Cut a sounding hole 
in the middle of the top. Fasten 
one end of each string to a metallic 
pin in one end of the box and carry 
it over both bridges, fastening the 
other end to a wooden pin in the 
other end of the box, and tighten 
up. The strings should be small 
catgut or blue E violin strings. 
Tune all the strings in unison, and 
place the harp in the window. 

Four-stringed harps are most 
satisfactory, but a fewer number 
of strings can be used. , 

ALARM: BURGLAR. (1) 
Make a finely-tapered wedge of 
hard wood or metal, and attach a 
small plate of metal loosely to one 
side. Insert a percussion-cap be- 
tween the wedge and the metal 
plate attached, and place it under 
the door from the inside. To pre- 
vent the wedge from slipping along 
the floor, drill a hole in the floor 
close behind it and insert a mov- 
able stop. When the door is opened 
the cap will explode. (2) Attach 
two light strips of brass to the 
beading over the door; they should 
overlap, but not touch each other 
at any point, excepting when the 
door is opened, and then the lower 
strip should be pressed against the 


upper one. Attach one end of a 
wire to one of the brass strips, and 
the other end to one terminal of a 
continuous ringing electric bell. 
Attach one end of another piece of 
wire to the other brass strip, and 
the other end to one terminal of an 
electric cell. Connect the remaining 
terminals of the bell and cell to- 
gether with a third wire. When 
the door is opened the bell will 
ring, and to prevent it ringing, 
when not wanted, disconnect either 
end of any wire, or place a switch 
in circuit, which can be moved so 
as to break the circuit during the 
daytime. 

ALARM CLOCK. Bore a hole 
in the side near the hammer of a 
common weight-clock. At a con- 
venient distance under this bore 
two more holes, one in each side, 
so that a string stretched between 
them will run under the time weight. 
Connect a piece of string to the wire 
that makes the clock strike in re- 
gulating, pass it out of the top hole, 
through the two underneath, and 
secure the other end. The time 
weight in descending will press on 
the string, and will make the clock 
strike until the whole weight runs 
down. To set, see how far the 
weight travels in an hour, and then 
set the weight the proper distance 


up. 

ALARM CLOCK: ELECTRIC. 
(1) A piece of brass A is turned to fit 
on the dial of a clock C, and is fixed 
on with marine glue B, which serves 
for insulation. Small holes are 
bored in A, and a piece of fine 
platinum wire, which fits tightly in 
any of them, projects when placed 
in them, so that it just touches the 


2 ALLOYS—AQUARIUM 


hour-hand D when it is over it. 
Connect one wire to A, being care- 
ful to keep it insulated from the 
rest of the clock, and connect the 
other wire electrically to D by join- 
ing it to the metal framework of 
the clock. Connect the free ends 
of the wires to a cell and bell in 
the ordinary way. A switch may 
be placed in circuit to prevent the 
bell from ringing when not required. 
When the hour-hand passes over 
and touches the projecting platinum 
wire the bell circuit is completed, 
and the bell rings. To alter the 
time at which the alarm is to ring, 
place the platinum wire in the hole 
in A, which is most nearly opposite 


the required hour, and then bend 
the platinum wire so as to make 
contact at the exact time. 

(2) Drill a hole through the side 
of the clock between the glass and 
the dial, and opposite the time it 
is required for the alarm to ring. 
Insert a piece of wood through the 
hole, and drive a pin through, so 
that it makes contact with the 
hour hand, when the hour hand 
passes by. Connect one wire to 
the head of the pin, and another 
wire to the metal frame-work of 
the clock. Connect up the free 
ends of the wires with the cell, bell 
and switch in the usual way. 

ALLOYS. 


3 > 
es ae petal Mh 
at, o|e) gies 
[He |/O}N I<é 

Bearings, white-metal , 
for, ..: : : -| 67] 22 | —] x 
Bell... : ; : 1} 4;/—]— 
Brass. vers . o| 7/64 ]/ 1] — 
Britannia-Metal |. SINS St eerste 
Pewter A ° + |100| — | — | 17 


[See also SOLDER] 


AMBER. How to Repair: 
Warm the broken pieces, dampen 
them with caustic potash, and then 
press them tightly together. [See 
also CEMENT (AMBER)] 

How to Test: Pure amber 
remains unchanged by the appli- 
cation of ether; but imitation 
amber is softened by it. 

ANNEALING. Copper and its 
Alloys: To anneal copper and its 
alloys, heat it to a red heat, and 
plunge it into cold water. 

Iron and Steel: To anneal 
wrought iron, mild or tool steel: 
(1) Place the metal in a slow wood 
fire, and leave it to cool down in 
the ashes as the fire dies down. 
(2) Heat to a cherry red, and 
then surround the metal with 
non-resinous wood in a metal 
box, and close the lid. To 
anneal cast iron, keep it at a 
good red heat for twenty-four 
to forty-eight hours. To anneal 
cast steel, keep it at a good red 
heat for twenty-four hours. 


APHIS: HOW TO REMOVE. 


(1) Mix 1 lb. soft soap with 10 gals. 
soft water, and apply with a 
syringe, using the finest spray 
nozzle. (2) Mix 1 peck soot and 
1 qt. quick lime in 3 gals. soft 
water; stir it well, and then 
leave it for twenty-four hours. 
When the soot rises to the sur- 
face, skim it off. Apply the wash 
with a syringe. (3) Steep 1 Ib. 
coarse shag in 6 gals. hot water, 
and mix in 8 oz. soft soap; apply 
with the finest spray nozzle. 
Syringe the leaves with clean 
water twelve hours later. 
AQUARIUM. A _ convenient 
size is 24 in. long x 12 in. high x 
12 in. broad. Mark out a board 
264 in. long x 143 in. broad x 1% 
in, thick for the bottom. Cut two 
pieces of glass 234 in. x 12 in. for 
the back and front, and two pieces 
114 in. x 12 in. for the sides. 
four pieces of wood 1} in. x 1} 
in. x 14 in. long for the corner 


Cut 


I a a a 


' the shoulders. 


AQUARIUM 3 


uprights; and on each of two 
adjacent sides of each upright cut 
grooves 1} in. deep, and a little 
thicker than the glass, with a saw 
and chisel. Fit the glass in the 
grooves, and then place all in the 
correct position on the bottom 
board. Now mark on the bottom 
board round the base of each 
corner upright, and remove the 
frame. Bore a 1 in. hole through 
the centre of each of these four 
marks; and cut the uprights to 
drive tightly in with square shoul- 
ders, and to project 4} in. below 
the bottom board. Now remove 
them, and saw slots in the rounded 
ends of the uprights nearly up to 
Dip this end of 
each upright into white lead paint, 
and paint the inside of the holes in 
the bottom board. Now drive the 
uprights into their respective holes 
with the saw-cuts across the grain 
of the bottom board, and drive 
wedges into the cuts. When dry 
saw all off flush. Now slip the 
glass into the grooves, and cut 
the tops of the uprights off level 
with the top edges of the glass. 
To make the aquarium stronger, 
cap pieces may be run from up- 
right to upright over the top of 
the glass, mitred together at the 
corners, and held down with 
screws driven into the top of the 
uprights. Heat some aquarium 
cement [sce CEMENT (AQUARIUM: 
No. 2)], but not to boiling point, 
or it will crack the glass, and 
pour it down one junction of glass 
and wood, Leave it in that posi- 
tion for two or three minutes till 
it has set, and then repeat on all 
the other joints of glass and wood. 
Coat the bottom with cement. 
[See CEMENT (AQuARIUM: No. 1).] 
Strew the bottom with sand 14 to 
2 in. deep, and then with a thin 
layer of gravel. For rock-work 
cut pumice-stone to the required 
shapes and sizes, If amphibians 
are to be kept, the rock-work must 


fa 


project above the water, or a 
piece of wood or cork left floating 
on the surface of the water. First 
introduce the water-plants, which 
must have good roots. Cover the 
outside of a flower-pot saucer 
with cement, and press pebbles 
and stones into it while soft. 
Fill it with clean, yellow loam, 
and plant the water plants in it. 
Then cover the loam over with 
pebbles to prevent the fish stir- 
ring up the mud, and place it in 
the water. A week or so later 
introduce two or three water- 
snails, which act as scavengers. 
Three or four days after this 
the fish may be put in. Keep 
one gold fish or roach, or two 
minnows toevery 14 gals. of water. 
The aquarium described would 
accomodate eight gold fish or 
sixteen minnows. Gold fish, carp 
tench, roach, rudd, gudgeon, eels, 
minnows, and sometimes small 
jack (pickerels) thrive well in deaa 
water, but on no account must 
the fish be overcrowded. Trout 
grayling, and in most cases dace, 
require a continuous supply of 
water running over a_ gravelly 
bottom. Avoid a supply from a 
lead pipe, unless the supply be 
continuous. The water must be 
aérated at least once a day with 
a syringe, if the water be dead, 
and completely changed every 
two months. Every six months 
the pebbles should be cleaned 
with sand and salt. It is best, 
however, to have a continuous 
supply entering at the bottom, 
and draining near the top of the 
tank, or entering by a _ small 
fountain, or even only drop by 
drop. If the light be too strong 
the fish will go blind; and, if too 
feeble, the vegetation will decay. 
The light should fall from above 
only. To feed the fish, suspend 
raw beef in the water by a thread; 
give a few worms occasionally, 
but dead worms must be removed 


4 ARROWS—BAG PRAMB 


immediately; ants’ eggs are also 
good food. Farinaceous foods, 
such as bread, should never be 
given, as they make the water 
sour. Roach, rudd and _ snails 
feed on the weedy growth on the 
glass. 

ARROWS. Split out the stick 
from greenheart, or some similar 
wood; the length to suit the size 
of the bow. 2 in. should project, 
when the bow is fully drawn, and 
all the arrows for one bow should 
be of the same length. Plane up 
two sides perfectly parallel; with 
a straight edge mark off on one 
planed side two parallel lines 
equal to the thickness between 
the planed surfaces. Plane up to 
these marks, keeping the stick 
square. Now work the corners 
off, and plane down till round. 
The string notch is cut with a 
sharp knife in the centre of one 
end. To head, saw a slit opposite 
the notched end, and insert the 
arrow head, which is held in 
place by binding with well-waxed 
thread. To feather, soak turkey 
quills in warm water till they split 
uniformly; then strip the feather 
from the quill, and glue three 
equidistantly around the shaft. 
The large end of the feather is 
fastened near the notch. Some- 
times the feathers are placed 
spirally on the shaft, a twist of 4 
in. being usually considered suffi- 
cient. This gives the arrow a 
rotatory motion. A bolt for a 
cross-bow is similarly made, but 
is not more than 12 to 15 in. long. 
The bolt should fit the groove of 
the gun exactly. 

ASH-SIFTER. Bore two # in. 
holes in an old. flour barrel 8 in. 
from the top and 8 in. apart; and 
then bore two more holes opposite 
these. Drive in two broom handles 
parallel to each other through 
these holes. Cut out a piece of 
the stave on one side over the 
two holes—for the sieve handle 


to come through. Rest the sieve 
on the two broom handles with 
the handle projecting through the 
hole just made, fit a board over 
the top for a cover, and the sifter 
is complete. 

AXE: HOW TO HANG. Set 
the head, so that a_ straight 
edge running along the upper side 
of the shaft, at the point where 
the little finger comes, will cut 
the centre of the rounded or cut- 
ting edge of the blade; also, so 
that by sighting along the side of 
the shaft, the head will be in an 
exact line with the whole length 
of the shaft. For rasping and fit- 
ting in the wedges see HAMMER. 

AXLETREE: HOW TO RE- 
PAIR. If the axletree arm be 
broken off at the hub, remove the 
load from the waggon, and block 
up the axletree a few inches 
higher at the broken end than at 
the other; then procure a piece of 
tough rail or young tree, dress off 
one end tapering for an axle arm, 
so that it will fit into the hub of 
the wheel that is off, and lash the 
piece to the broken axletree witk 
rope or wire. If rope be used, 
after it has been drawn up as 
tight as possible, drive in a 
few wedges under it and then wet 
it. The wheel may now be put 
on, and if there be no auger to 
drive a hole to fit the linch-pin 
in, drive a nail through, and then 
wind a piece of twine round till a 
ridge is formed sufficiently high 
to prevent the wheel from work- 
ing off. If the axletree break 
near the middle, lash a rail which 
should extend from wheel to 
wheel, underneath it, and bind 
the rail on at both ends, and on 
each side of the fracture. If the 
wheel give way, a temporary 
runner made of a plank fitted 
beneath the hub will run for miles. 


BAG FRAME. In the upper 
wall of the granary drive a couple 


ee a 


BAG HOLDER—BALLOON 5 


- of staples 4 to 6 ft. apart, and to 
these attach strong fine wires 
long enough to come down within 
handy reach. To the lower ends 
of the wires suspend a rake handle 
or similar rod, over which the bags 
are hung. 

BAG HOLDER. (1) Cut a 
piece of plank about 20 in. long 
x 12 in. wide; bevel off the ends 
slightly, and nail strips of thin 
boards 6 to 8 in. wide to them 
for uprights, as 
shown in the illus- 
tration. The base 
should bevel to such 
an extent that the 
uprights are about 
15 in. apart at the 
top. The bag is 
rested on the bot- 
tom between the uprights, and the 
top of the bag is folded back over 
them about 2 in. (2) Two hooks 
driven into a wall may be used to 
suspend the sack from. 

BALL: WOOLLEN. Cut two 
circles of pasteboard as shown 
in the illustration. Place a long 
thread of wool in a darning needle, 
hold one circle on the top of the 
other, and pass the threaded 
needle through the hole in the 


centre, and then over and under, 
until the hole is completely filled. 
The tighter the wool can be 
crowded in without breaking the 
pasteboard the better. Cut the 
wool all round the outside edge 
with a pair of scissors. Slip a 


piece of strong thread or twine 
between the two circles of paste- 
board, and tie, so as to nip all the 
lengths of wool in the middle; then 
tear the pasteboards, and remove 
them. Trim all over to make 
smooth, if necessary. If a cro- 
cheted chain be used instead of 
the twine, and left long, these balls 
make neat tassels. 

BALLOON: PAPER. Cut 
8 pieces of tissue paper 36 in. 
long x 10 in. wide at the widest 
part, which is 15 in. below the 
top, and 5 in. wide at the bottom, 
as shown in Fig. 1. Paste the : 
edges of these together, leaving 
the bottom free. If the points 
do not come together at the top, 


Fia. 1. 


cut a circle of tissue paper about 
5 in. diameter and paste it over the 
top. Around the bottom, which 
will be open 12 in. or more, put a 
light stick hoop. A small willow 
stick peeled, bent and dried will 
answer, but it must be very light. 
To fasten, paste the edges of the 
strips around it. Now cross two 


6 BAMBOO—BAROMETER 


wires the thickness of cotton 
thread over the mouth and fasten. 
Take a piece of cotton-wool the 
size of a walnut, and wrap it round 
the cross made by the wires. 

To send the balloon up, draw it 
sharply through the air to fill it 
out; saturate the cotton wool with 
methylated spirits; hold a fruit 
can with both ends knocked out 


FIG. 2. 
over the cotton wool and then 
light it, some one else holding 
the balloon upright all the time. 
When the balloon begins to sway, 
take away the fruit can, and let go. 

A balloon made of newspaper 
must be at least twice the size 
given for the tissue balloon, or 6 
ft. high. 

BAMBOO: HOW TO BEND. 
Hold one end of the bamboo loosely 
in a vice, and pull with a slight 
pressure in the direction the bend 
is to be. Then run a lighted 
Bunsen burner, or a spirit lamp, 
along the wood, twisting the wood 
round, and moving the flame 
continually. When the bamboo 
is sufficiently hot it will be felt 
to give as it is pulled. Keep on 
heating and bending, but be care- 
ful not to burn the wood, till it 
is bent as desired; then wrap in 
wet flannel till cold. A mottled 
appearance may be given by 


Singeing, but not burning the 
hard outer skin. 
BAROMETER. (1) Dissolve 


2 parts camphor, 1 part salt- 
petre, and 1 part sal-ammoniac, 
in strong spirits of wine; and 


then add water till the camphor 
is partially precipitated. Take a 
tube, sealed at one end, 10 in. 
long x 1 in. diameter, and pour 
this solution in. The top end may 
be left open or sealed as desired 
The tube is fixed horizontally 
against a wall. (a) If the weather 
is going to be fine, the precipitate 
will remain entirely at the bottom 
of the tube, the liquid above being 
transparent; (b) If the weather 
is going to be wet, the precipitate 
will slowly rise, and crystallisa- 
tions like stars will be seen; (c) 
If the weather is going to be 
stormy, the precipitate will rise 
to the top, crystallising like a 
leaf, and the liquid will seem to 
effervesce; (d) The crystals form 
chiefly on the side from which 
the wind will blow; (e) In winter 
the precipitate will be higher in the 
tube. Cold weather is indicated 
by crystallisation like needles. 

(2) Cut two sheets of paste- 
board, about 2 ft. x 3 ft.; bring 
the two ends together, and glue 
them together tight, so that two 
pipes are formed, each 2 ft. long 
x about 114 in. diameter. Cut 
thin round boards exactly to fit 
in the ends of these cardboard 
cylinders. Tack the heads in 
place with thread, and glue them 
air-tight. Take a very light rod, 
about 6 ft. long, and fasten one 
drum to each end. Balance this 
pole with a drum on each end by 
a pivot in the middle. Bore a 
gimlet-hole through the end of 
one drum, The inside of one 
drum communicates through the 
gimlet-hole with the outside air, 
but the other drum is air-tight. 
If the surrounding air gets heavier, 
the air-tight drum will rise, and 
vice versa. 

(3) Fill a large-mouth pickle 
jar with water; remove the straw 
covering and thoroughly clean a 
Florence oil flask, and plunge it 


neck down into the water in the 


ee 


BARRELS—BASKET 7 


pickle jar as far as it will go. - In 
fine weather the water will rise 
up the neck of the flask; in rainy 
weather it will fall. 

BARRELS: HOW TO CHAR. 
Take out the head of the barrel, 
place the body over a brisk fire, 
and char the inside completely ; 
then replace the head. Before 
use, fill the barrel two or three 
times with hot liquor, and 
thoroughly shake. 

BARRELS: HOW TO CLEAN. 
(1) Half-fill the barrel with water. 
Dissolve 2 lb. soda in as little 
water as possible, and pour it 
into the barrel. Thoroughly rinse 
by shaking the barrel, and then 
fill up to the top with more water. 
Leave this liquid in the barrel for 
about a fortnight; then draw off, 
rinse, and fill up with clean soft 
water, and leave for a few days. 
(2) Put in 4 gts. to1 peck charcoal, 
and a cupful of saleratus; and fill 
up with boiling water. Cover the 
barrel, and let the liquid remain 
in it till it becomes cold; then 
rinse thoroughly. (3) Rinse with 
a fairly strong solution of oil of 
vitriol and water. (4) Scour the 
inside with sand and water, and 
afterwards apply a quantity of 
charcoal dust. (5) Dissolve as 
much salt as possible in boiling 
water; fill the bottom of the barrel 
with lime; pour in the boiling 
salt water and shake well. Open 
barrels or tubs should be covered 
with a board to keep the steam in. 
[See also BARRELS (Musty)] 

BARRELS: HOW TO DRY. 
To prevent the hoops falling off 
butter barrels, soak the barrel in 
glycerine till it is thoroughly 
impregnated. 

BARRELS: HOW TO HOOP. 
Punch a hole about 4 in. from one 
end of a piece of 1 or 14 in. hoop 
iron. Bend the iron round the 
cask a little higher up than where 
it is to go on, and mark where 
the first hole comes on the iron 


underneath. Punch a second hole 
at this mark; cut the iron } in. 
away from it and rivet up. 

BARRELS: MUSTY. (1) 
Burn sulphur in the empty cask, 
and leave for a few days. (2) 
Place live coals in the barrel, and 
fill up with boiling water. Roll 
the cask once or twice a day for 
a week; then wash out with cold 
water, and expose to the air for 
some days. 

BARRELS: PRESS FOR. 
Drive a staple in the floor, and 
attach a chain to it a little longer 
than the barrel. Take a board 
Saft, x 4 in. x 4.in.; make a 
loop in the chain, and insert one 
end of the board. Place the 
barrel close up against the staple, 
and apply a weight to the other 
end of the lever. As the goods 
in the barrel sink, place boards 
under the barrel so as to lift it up. 

BARRELS: WINE AND 
CIDER. For a new barrel use 
1 lb. alum and 4 to 5 Ib. salt to 
4 bucketfuls of water. Heat to 
boiling, and pour a bucketful at 
a time into the cask; _ rinse 
thoroughly, and let it stand an 
hour, and then turn it out. 
Repeat till the 4 bucketfuls have 
been used. Finally rinse with 
cold water, and fumigate with 
sulphur as in BARRELS (Musty: 
No. 1). 

BASKET: CORAL. Make a 
wire basket as for BASKET (WIRE 
WALL), but the wire must be 
covered with cotton. Cover the 
basket all over with knots about 
1 in. apart. Melt 4 Ib. beeswax 
in a shallow pan, and stir in 
Japanese vermilion till coral 
coloured. Roll the basket in this 
liquid wax until it is completely 
covered, and hang it up to dry. 

BASKET: CRYSTAL. Blue: 
Make a saturated solution of blue 
vitriol, and place a basket made 
from copper wire in it, till the 
wire is sufficiently coated. This 


8 BASKET 


basket cannot be washed, for the 
crystals will dissolve in water. 
Red: Make a saturated solution 
of red prussiate of potassa, and 
immerse as for blue. Yellow: 
Make a_ saturated solution of 
cyanuret of potassium, and im- 
merse as for blue. White: Make 
a saturated solution of alum, and 
immerse as for blue. 

BASKET, HANGING: 
COCOA-NUT. Cut off one-third 
of the small end of a cocoa-nut, and 
clean the inside. Drill three holes 
near the edge for cords to suspend 
b 


BASKET, HANGING: 
GLASS. Break off the stem of a 
broken wine glass near the bowl. 
Crochet an open work bag with 
or without a tassel at the bottom 
for the bowl, and suspend by 
cords. 

BASKET, HANGING: HOW 
TO FILL. Fill the interstices 
with the moss found growing on 
tree stumps. Place an old sponge 
in the bottom; cover with muslin, 
and fill up the basket with rich 
soil. A sprinkling of pure bone 
dust over the mould once a month 
is a splendid manure. Ifa showy 
centre plant be desired, place it 
in a flower pot, and then place 
the pot in the hanging bowl, 
covering it over with rich hotbed 
soil. The basket should be taken 
down, and placed in a tub of water 
deep enough to cover the soil 
_once a day. 

BASKET, HANGING: IVY. 
Use a wooden bowl, and suspend 
by three brass chains. Smear the 
inside with tar, and place a sponge 
in the bottom to retain moisture. 
Fill up with earth, and start the 
ivy with cuttings, simply inserting 
them in the soil. - 

BASKET, HANGING: 
RUSTIC. Choose sticks of oak 
about the size of a man’s thumb. 
Cut 14 lengths, 8, 10 or 12 in. 
long according to the size of 


basket desired. Fasten together, 
as shown in the illustration, by 
thrusting a red-hot wire through 
the sticks where they cross, and 


leave loops in the wire at the top 
to suspend by. For filling with 
earth see BASKET (HANGING: HOW 


TO FILL). 
BASKET, HANGING: 
SHELL. Cup-shaped sea-shells, 


suspended by brass wire passed 
through holes drilled near the 
edge, make good baskets for 
mosses and similar plants. 
BASKET, HANGING: 
WIRE. Cut 32 lengths of stiff 
copper wire about 21 in. long ; 
bend each length as a figure 8, 
then bind or solder up firmly. 
Each section should then be about 
74 in. long. Cut 8 pieces of 
the same wire 14 in. long, and 
make up in the same shape; these 
sections should then be about 44 
in. long. Use 8 sections for the 
front, 8 sections for the back, 
3 sections on each side and 
8 of the shorter sections for 
the bottom. Use 8 large sections 
for the handle, and fix them 
together as shown in the illustra 


BASKET—BEE-HIVE 9 


tion. Attach it to the top edge of 
the basket in the centre; and then 
for a support to the front, tie the 
ends of 2 sections together, and 
attach them to the centre section 


of the front, and to the centre of 
the middle upper section. Hoop 
iron may be soldered or bound 
along the centres of the sections 
all the way round to stiffen. 

BASKET, HANGING: 
WOODEN. Ornament an old 
wooden bowl with small roots, 
twigs split down the middle, 
acorns or scales of long pine 
cones. Attach these with small 
brads or with waterproof glue 
[see GLUE (MARINE)], and finish 
with two coatings of carriage 
varnish. Bore several holes in 
the bottom, and when filling up 
the bowl with earth, cover them 
on the inside with broken pieces 
of flower-pots. Suspend by three 
strong brass wires. Instead of a 
bowl a keg or butter firkin sawn 
in half may be used. Ornament 
as before, and paint the inside 
with tar. 

BASKET: WIRE WALL. 
Cut 23 wires into pieces about 
20 in. long, and make sections 
as shown in the illustration, lap- 
ping the ends together for 4 in. 
and fastening with stout thread, 
or better, with solder. Take 4 
of these loops for the bottom; 
place them side by side, and fasten 


firmly. For the back and front 
take 4 loops, and fasten them to 
the bottom; then 3 loops, and 
fasten them to the 4 loops; then 
2 loops, and lastly 1 loop. For 


the sides take 1 loop and fasten it 
to the bottom and the back and 
front. Fix another loop between 
the back and front near the top 
for a handle. 

BEDS: FEATHER. If 
feathers work through the tick, 
empty them out, and turn the 
tick inside out. With a piece of 
beeswax slightly warmed rub the 
tick all over on the inside. Re- 
place the feathers, and sew up. 

BEE-HIVE: TEN BAR 
FRAME. The standard brood 
frame is 14 in. x 84 in. outside 
measurements, as shown in Fig. 
1. Make the top from yellow deal 
17 in. x in. x £in.,so that 1l}in. 
projects over each side. Make the 
sides 83 in. x Lin. x {in., fitting 
them 3 in. into the top, as ‘shown. 
Make the bottom 14 in. x 4 in. 
x $in., and nail all together with 
sharp brads. Then screw into the 
top two small screws, as shown 
in Fig. 2, which is a plan or 
view obtained when looking on 
the top of aframe. These screws 


| should project just so far that the 


frames, when hung in position in 
the hive, are kept 1} in. apart, 
centre to centre. This last dimen- 


10 BEE-HIVE 


sion, 1} in., is that most commonly 
used, though 1°45 in. is also used. 
These frames should be firmly 
held together and neatly made. 
They can be bought ready made 
for little more than the bare cost 
of the wood. The body of the 
frame is made from ? in. yellow 
deal, which must be clean and free 
from knots and shakes. It is 
made in four sections as shown in 
Figs. 3 and 4. Round the bottom 
of each section a fillet is nailed on 
to slip over the top of the section 
below, so that, if required, the 
second or third section may be 
taken out during the winter. If 


by crawling up the flight board 
and under the gap left between 
the front and the floor. Now nail 
on to the floor two pieces of wood 
84 in. high, running parallel to, and 
12 in. away from, the sides, so that 
the sides are double walled, and 
the inside measurement is 14} in. 
x 17 in. deep as shown in Fig. 3. 
Cut the top edge of the inner walls 
to a peak, and nail thin zinc plate 
on, as indicated by a thick line in 
Fig. 3. These inner walls support 
ten frames side by side, as is 
clearly shown in Figs. 3 and 4. 
The zinc plate is nailed on to the 
top edge to enable the frames to 


FIGS. I AND 2, 


time can be spared, all the joints 
of each section should be tongued 
and grooved, but in any case a 
tongue joint should be made be- 
tween the floor and the bottom of 
the first section. Cut the wood 
to make the bottom section 17 in. 
wide x 18 in. deep inside, and 
then fit on the floor, leaving a 
gap of 2 in. in front, as shown in 
Fig. 4. Then nail on a piece of 
wood 1 in. x # in. all round the 
edge on the underneath side of 
the floor to raise the hive slightly, 
and slant off the front edge, and 
nail a piece across the top for a 
flight board. The bees will enter 


be removed, for if the wood of the 
inner walls were left square on 
the top, and not covered with 
metal, the bees would cement the 
frames down on to them with wax. 
Fill up the space between the two 
inner and outer side walls with 
cork dust, hair or sawdust, and 
lay a close-fitting thin strip of 
wood over the top, to prevent the 
bees entering between the double 
walls. The second section is made 
in exactly the same way, only the 
frames here are only 5} in. deep 
instead of 84 in. deep. They are 
also best hung at right angles to 
those below. The inside dimensions 


ae eae ee 


BEE-HIVE 


of this section are 6 in. x 17 in. x 
18 in. The inner walls are here 
placed parallel to the back and 
front, and are 14 in. away from 
them, so that the inside dimen- 
sions are 144 in. x 17 in., as 
below. Fill up between the double 
walls with cork dust, hair or saw- 
dust, and cover it over with thin 
strips of wood, as in the first sec- 
tion. A fillet 2 in. x in. is 
nailed on to the bottom, letting 1 
in. overlap all round, so that this 


\ 
\ 


\ 


ANAS 


TLL 


AXA 


NERA 


N 
N 
N 
N 
Ny 
N 
N 
N 
N 
N 
N 
N 


ULL 


N 


SS 


LLL LLL 
ESC LS eae ae Ca SS 


YY 


\ 
@ 


4 
SS 


N 


N 


LLL LLL LLL LLL 


11 


all. These supers are usually 
supported by thin metal bent to 
the shape of an inverted ‘“T,” 
which rest on the top of the shallow 
frames. Sometimes a very light 
inner frame is made, in which the 
supers are arranged. At one end 
of this frame there is a false back, 
which is. pressed forward by a 
spring. By this means all the 
supers are pressed together, and 
the honey distributed equally in 
each. A thin sheet of zinc, wood 


Ns 


Z 


LLLLL LA. NULLA 


CZ 


ANS 


SEW 


WML VZLZZZ 


SS 


MARY 


WLLL 


DOOOXx 


ASS 


FIG. 3. 


section can be easily dropped on 
to the first, but it should make a 
good joint and be free from 
draughts inside. The third sec- 
tion is made without double walls 
17 in. x 18 in. inside, and con- 
tains the supers. The ordinary 
super is 2 in. x 44 in. x 4} in., 
which is sold commercially as 
containing 1 Ib. honey. Six 
rows of three supers abreast are 
arranged as shown in Figs. 3 
and 4, making eighteen supers in 


Scale. 


FIG, 4. 


or cardboard should in any case 
be placed between each row of 
three supers, or else the supers 
may become cemented together, 
or bulged outwards. A large flat 
thin sheet of zinc should also rest 
on the top of each series of frames 
with about } in. to 3 in. clearance 
all the way round the edge for a 
beeway. The fourth and last 
section carries the roof. The roof 
rises 5 in. in the centre, and 
should project about 2 in. all 


12 BELL 


round for leaves. A good mitre 
joint should be made at the top, 
and then zinc bent and nailed 
over it on the outside to keep out 
all wet, as indicated by the thick 
line. The roof is often covered 
with felt and then tarred. This 
is not necessary, but it makes the 
hive warmer in the winter. At 
each end of this section bore a 1 in. 
hole, and cover the one at the back 
with perforated zinc on the inside; 
over the front one nail a cone 
escapement, which allows the 
bees to escape readily from the 
hive, but they are very unlikely 
to find their way back again by it. 
During summer the opening at 
the top of the flight board, which 
serves as the entrance, may be 
left entirely open, but in winter 
this would be too draughty and 
cold. A sliding door should there- 
fore be fitted, which can be opened 
more or less at will. This is 
shown in section in Fig. 4. A 
piece of wood like an inverted 
“TL,” is nailed on to the front just 
over the entrance. Two strips of 
wood can then be slipped into the 
groove thus formed, resting on the 
flight board, and if pressed to- 
gether, the entrance would be 
entirely closed. This, however, 
is never desirable, so the bottom 
corner of each should be cut off, 
allowing, even when the two pieces 
of wood touch, an opening sufficient 
for two or three bees to come out at 
once. When the sliding doors are 
opened wide, the opening should be 
6 in. x }in.,or9in. x gin. These 
sliding doors and the guide should 
be made from some hard wood, 
which will not warp. Over the 
door a piece of wood like a lean-to 
roof is supported on brackets as 
shown in Fig. 4 to keep the rain off 
the flight board in wet weather, 
and to protect the door. 

BELL: ELECTRIC. (1) To 
make a 24 in. electric bell. For 
the magnet core cut a piece of best 


- 


% in. wrought iron bar (A Fig. 1) 4 
in. long, and bend it U-shaped, 
so that the two straight legs are 
about 13 in. long, and § in. apart; 
that is, 1 in. apart centre to centre. 
Then soften it [see ANNEALING 
(Iron and Steel)], rub off the scale 
with .emery cloth, and file up the 
ends square and level with each 
other. For bobbins (B) cut a strip 
of tough paper 18 in. wide, and 
bind it round a wooden mandril 3 
in. diameter. Wind on three layers 
of paper, and glue these layers 


ul 


I 


a S{Mn 
|s--} 


vel 
Tal 


Se 


sa 


Fia. 1, 


together as they are wound on, 
but do not glue the paper to the 
mandril; then bind the paper 
round with string till the glue is 
dry. Make another paper tube in 
the same way. Cut four discs of 
wood about ; in. thick, and 
barely 1 in. diameter, and drill 4 
in. holes through the centres, so 
that they are a tight fit on the 
paper tubes. Glue one of these 
discs on to each end of each tube 
for flanges. When dry, give the 
bobbins two coats of shellac or 


ee ae 


BELL 


sealing-wax varnish. The bobbins 
being still on the wooden mandril, 
and the yarnish perfectly dry, 
wind 2 oz. No. 26 B.W.G. silk 
covered wire on each. Care 
vhould be taken to wind each 
vayer flat and even, and to give a 
coat of Brunswick black, or shellac 
varnish over each layer, before 
winding on the next. Leave 6 in. 
of wire loose at each end for con- 
nections. Now slip the bobbins 
off the mandril, and slip one on 
_to each leg of the magnet core, 
leaving y, in. of each leg project- 
ing. The bobbins should be so 
put on, that when looking on the 
ends, one bobbin is wound with 
the winding ‘clockwise,’ and the 
other with the winding ‘“ counter- 
clockwise”. To test if the bobbins 
are put on in this way, bare all 
four ends of the wires, scrape 
them bright, and twist the two 
ends near the bend of the magnet 
core together. Now connect a 
cell on to the two free ends, and 
test if it forms a powerful magnet. 
If not slip off one bobbin, reverse 
it, so that the ends of the bobbin 
change places, and twist together 
the ends near the bend of the 
magnet core as before. The mag- 
net should now be strong, and 
if it be so, solder together the 
ends twisted together as shown. 
If the magnet still be weak, the 
wire has most probably been 
broken, and it will have to be un- 
wound from the bobbins till the 
fault is found. This fault must 
then be repaired by soldering the 
two ends together. Cut out a base- 
board (C), the shape being im- 


material, about 7 in. long x 41) 


in. broad to fix the whole on to. 
Cut out two pieces of wood (D), 13 
in. x Zin. x 4 in., and cut a semi- 
circular slot 33, in. deep x $ in. 
broad in each for the bend of the 
magnet core to bed in. Glue one 
piece on to the base-board, and 
when it is dry, place the magnet 


13 


core in the slot, and screw the 
other piece down on the top. This 
will hold the magnet and bobbins 
in place. For the armature cut a 
piece of wrought iron (E), 1% in. 
x 4 in. x 43 in., and file it up 
square. Drill a 7, in. hole down 
the centre of one end, and tap it. 
This hole is to receive the hammer 
shaft (F). Cuta piece of spring (H), 
such as the mainspring of an 
American clock, 22 in. long, and 
bend it as shown. Cut 4} in. 
platinum wire, and hammer it out 
thin till it is about 4 in. square. 
Solder this across the spring } in. 
from the end, to make contact 


Fie. 2. 


with the contact screw (J), At the 
other end of the spring drill two } in. 
holes } in. apart to fix on to the 
wooden piece (I), and solder or 
rivet the armature to the spring 
as shown. The spring, when bent 
down, should be about level with 
or a trifle longer than the end of 
the armature. Cut a piece of wood 
(1) in. x in. x 4in. Hold the 
armature opposite the ends of the 
magnet core, but ;%, to 4 in. away, 
and glue this piece of wood, so that 
two 4 in. screws can be screwed into 
it through the two small holes in the 
end of the spring without shifting 


14 

f 
the armature. When dry, drive in 
these two screws to hold the spring 
and armature in place. To make 
the contact screw (J), file the end 
of al in. brass wood screw flat, 
and drill a small hole down the 
middle. Cut 34 in. platinum wire, 
tin it, and sweat it into this hole, 
and then file the platinum almost 
flush with the end of the screw. 
Drill a small hole 4 in. from the 
bottom of another piece of wood 
(K), made the same size as (I), to 
screw the contact screw through, 
and let the screw only just project 
beyond the wood. Now place this 
block, so that the platinum tip of 
the screw just touches the platinum 
soldered on to the spring, and glue 
it down. Screw two terminals (T), 
on to the top of the board, and 
connect the wire from one bobbin 
to one of them. Slack out one of 
the two screws a little, which 
holds the spring and armature in 
place, twist the loose end of wire 
from the other bobbin round it, 
and screw it up tightly. Now 
take up an odd piece of wire, bare 
and clean the ends, and connect 
one end to the free terminal. 
Take out the platinum-tipped con- 
tact screw, slip the other end of 
this wire down the hole, and drive 
the screw in again. The connec- 
tions are clearly shown in the illus- 
tration. Connect up two Leclanché 
cells across the terminals, and 
slowly screw in the contact screw, 
jarring the bell from time to time. 
When the armature begins to buzz 
by simply connecting the cell, the 
bell is properly adjusted. It should 
be remembered that the longer the 
stroke of the armature, the louder 
the bell will ring. The gong (G) is 
fixed to the base-board by any 
convenient method. The hammer 
head (L) is screwed on to a piece of 
No. 12 B.W.G. brass wire (F), the 
other end of which is screwed into 
the hole in the armature made to 
receive it. The shaft is then bent, 


BELL 


so that the hammer head just 
strikes the bell when the arma- 
ture is nearly touching the magnet 
core. To keep out dust, cover 
over all except the gong, half the 
hammer shaft and the terminals, 
with a box made from fretwood 
or an old cigar box. A longish slot 
must of course be left in this box 
to allow the hammer to vibrate. 
If there be a clicking sound when 
the bell rings, varnish a piece of 
paper and fix it over the ends of 
the magnet core. 

(2) The framework of the bell 
usually sold is illustrated in Fig. 
2. It is made entirely of cast iron 
with the exception of the two 
spindles (A) and (A), which are 
turned from soft wrought iron 
and screwed and riveted into the 
casting. These form the magnet 
core, and receive the bobbins. 
The armature and contact screw 
are shown by dotted lines; the 
small screw (B) being merely a 
binding screw to clamp the con- 
tact screw after adjustment. The 
casting may be purchased, and 
the bell made up after the same 
manner as No. 1. A few rules 
are: length of bobbin=4 the dia- 
meter of bell, or slightly over. 
Length of core=} in. less than 
length of bobbin. Diameter of 
core=} length of core. Depth of 
winding on bobbin = the diameter 
of the core or slightly less. Size 
of wire for the bobbins of a 2 in. 
bell=No. 28 B.W.G.; for a 3 in 
bell=No. 26 B.W.G.; for a 4 in, 
bell=No. 22 B.W.G.; for a 6 in. 
bell=No. 18 B.W.G. The magnet 
core may be made from a bundle 
of wires soldered together, or from 
a solid bar. Wires are best for 
large bells, the gongs of which are 
over 4 in. diameter. For the 
wires running in the house, use 
No. 20 B.W.G. tinned copper 
wire insulated with rubber, and 
two laps of cotton. If the wiring 
be on the surface, hold it down 


BELL 


with fibre insulated staples. The 
best work is done by cutting 
chases in the plaster of the walls, 
and drawing the wires through 
3 or 4 in. composition or zinc tubes, 
and plastering the tubes in the 
chases.. In all cases where wires 
go through walls, they should be 
run in a short length of tube for 
that part. For the usual method 
of connecting the bell with the 
switch and cell see BELL (ELECTRIC: 
INDICATOR). The indicator may of 
course be put in or left out as 
desired. 

BELL, ELECTRIC: CON- 
TINUOUS RINGING. A small 
piece of brass is cut from 4% in. 
sheet 1 in. long to approximately 
the shape of the lever (A) in the 
illustration. Near one end a 7, 
in. hole (B), is drilled, and at the 
other end a small piece of plati- 
num wire is swetted on. Just 
above the hole (B) solder on a piece 
of fine silk covered wire, and 
bend it into a spiral. Another 


small piece of platinum wire is 
sunk in, and swetted into the 
head of a } in. brass screw (C). 
Drive a small brass nail through 
the hole (B), so that (A) will rotate 
freely on it, and also so that the 
further end just rests on the top 
of the hammer (H) of an ordinary 
electric bell, but will fall when the 
hammer moves to strike the gong. 
The screw (C) is driven in about 4 


15 


in. below (A), and so turned that 
when (A) drops, the two pieces of 
platinum wire come in contact. 
Under (C) twist the end of a piece 
of wire, and screw it down tight, 
so that good electrical contact is 
made. The connections are made 
as shown in the illustration. The 
wire soldered on to the top of the 
I:ver (A) is connected to the same 
bell terminal as the bell-push (P), 
and the wire from the stop (C) is 
connected to the other terminal 
of the push, which is connected 
to the battery (D). For the rest, 
the bell is connected up in the 
ordinary way as shown. When 
the push (P) is pressed, (A) drops 
and makes contact with (C), which 
short-circuits the push, and, the 
bell continues to ring until the 
lever (A) is lifted up. To reset the 
bell, balance the lever (A) on the 
top of the hammer again. 
BELL, ELECTRIC: INDI- 
CATOR. (1) Make the required 
number of bobbins 1 in. long x 3 
in. diameter, the flanges being 1 in. 


Fig. 1. 


diameter, as explained above under 
BELL (ELEcTRIC), and wind on each 
14 oz. No. 30 B.W.G. silk-covered 
wire. Inthe centre of each bobbin 


16 


place a piece of soft wrought iron 
1,4, in. long x $in. diameter for the 
magnet core. Fig. 1 shows the 
bobbin with +, in. of the core pro- 
jecting, and Fig. 2 shows the ar- 
rangement of several in one box. 
Cut a length of 3 in. of No. 22 
B.W.G. brass wire, and to one 
end solder or screw on a piece of 
wrought iron 7; in. thick x 3 in. 
diameter for the armature. Tothe 
other end of the wire attach a disc 
of cardboard. This wire should 
then be pivoted as shown in Fig. 1, 
and should be almost balanced, so 
that the slightest touch will make 
it swing from one side to the 
other. Imagine now that the 
armature and wire is at rest 


against a stop, as shown in Fig. 1, 
or as the two end indicators in 
Fig. 2. If a current be made to 
pass round the bobbin by pressing 
a key, as shown by the middle 
indicator in Fig. 2, the magnet 
core will become excited, and the 
armature on the end of the brass 
wire will be attracted. The arma- 
ture should then swing towards 
the magnet, and assume the posi- 
tion shown in the middle indicator 
in Fig. 2. If the armature is not 
moved, it is either too far away, 
and the whole should be re-pivoted 
nearer the bobbin, or else the wire 
is badly balanced, or there is too 
much friction on the pivot; or 
else the magnet has not been 
sufficiently excited, and more cells 


BELL 


should be used in the circuit. The 
dotted circles represent little win- 
dows of glass in the box, and when 
the indicator is swung over, the 
cardboard disc will appear oppo- 
site the window, and it can then 
be seen which key has _ been 
pressed. A horizontal rod of wood 
or brass is arranged across the 
box, as shown in Figs. 1 and 2. 
This rod has small discs or pro- 
jections on it, and it slides in two 
holes, one at each end of the box. 
It is kept pressed back in one 
position by a spring pressing on 
one end of it, as shown in Fig. 1. 
Supposing the bell has been rung, 


FIG. 3. 


and the disc has swung over, as in 
the middle indicator of fig. 2, the 
number on the disc having been 
noted, the rod is pressed. The 
projection on the rod will knock 
the wire back against the stop, the 
spring will then press the rod back, 
and the indicator will then be 
ready to be used again. Fig. 2 
gives the usual method for con- 
necting the bell, cell, switches and 
indicator together. Three switches 
and keys, and therefore three ways 
to the indicator are shown, but of 
course any number can be fitted in 
the same way. It is immaterial 
how the box be made as long as 


BELT-PASTENINGS—BIRDS’ EGG CABINET 


it will exclude dust. Great care 
should be taken to fix the box 
exactly level on the top, or else the 
balance of all the indicators will 
be spoilt. 

(2) Wind three or four layers of 
tough thin paper 1 in. broad round 
an oblong mandril 18 in. x 4 in.; 
glue these layers together and fit 


on thin wooden flanges to each 


end as explained under BELL 
(ELECTRIC), in making the bob- 
bins. When dry, and _ before 
removing from the mandril, wind 
on 2 oz. No. 30 B.W.G.  silk- 
covered wire. The magnet is made 
from a piece of magnetised steel 
14 in. x $ in. x 3 in. working on 
an axle as shown in the illustra- 
tion. To it is soldered 1} in. of 
No. 20 B.W.G. brass wire, and to 
the other end of this wire a disc 
of thin cardboard is attached. 
This is very nearly balanced, but 
slightly top heavy, and only just 
the slightest touch should be 
needed to send the disc from one 
stop to the other. They are 
mounted in a box, and connected 
up in the same way as No. 1. 

BELT-FASTENINGS. A 
laced joint makes the best run- 
ning joint for leather, but the 
laces should be crossed on the 
outside. Patent fastenings and 
rivets are the handiest to 
tighten up when the belt runs 
slack. In all cases the inside 
of the belt should be smooth, 
and the heads on the outside. 

BELT: SEWING MACHINE. 
Cut old kid gloves up into strips 
-4 in. wide, join the strips together, 
and then twist them up tightly 
into a cord. 

BENCH: CARPENTER’S. 
Cut four lengths of deal 4 in. x 3 
in. x 2 ft. 64 in. and plane 
them up square for legs. Cut four 
pieces of deal 3 in. x 3 in. x 2 
ft. 6 in. for cross pieces. Fit 
together two frames, each com- 
posed of two legs and two cross 


17 


pieces, for the ends of the bench, 
as shown in Fig. 1. Fit the lowest 
cross piece 3 in. from the ground 
with tenon joints, the top cross 
piece flush with the top of the legs 
with open tenon joints. Cut two 
pieces (A) (Fig. 2) from 1} in. deal, 
6 in. broad x 7 ft. 6 in. long, and 
nail them into the two frames as 
shown in Fig. 2. Cut two pieces 


Fic. I. 


(B) from 1} in. deal 1 ft. 3 in. broad 
x 7 ft. 6 in. long, and nail them 
on as shown. Now nail on the 
top, which is made from 1} in. 
wood. Ifthe bench has been made 
accurately it will be quite rigid, 
but if there be any shake, fit and 
screw on a cross stiffener of 3 in. 
x 3 in. deal, running from the 
bottom corner on one end to the 


Fia. 2. 


top corner on the other. Now 
mark off the position of the screw 
and guide for the vice at the left- 
hand end of (B), and cut out the 
round and oblong holes accurately. 
Finally screw down, and fit in the 
planing stop, and any necessary 
drawers. 


BIRDS’=-EGCG CABINET. This - 


is made in principle the same as 
a butterfly cabinet [see BUTTER- 
FLY CABINET], but the drawers 
should vary in depth. The recep. 
tacles for the eggs are often card. 


18 


board boxes, lined with cotton 
wool and fitted with glass lids, 
which are sold for the purpose. 
They are made so that four small 
boxes are equal to one larger, and 
thus the boxes are readily changed 


as desired. The only disadvan- 
tage is that they are rather un- 
sightly. Wooden partitions may 
be made with saw kerfs cut to fit 
together, and are permanent, as 
shown in the illustration. 

BITS: ADJUSTABLE 
BRIDLE. Attach a strap and 
buckle to either end of an ordinary 
bit. Slip the straps through the 
side rings of a five-ringed halter, 
and the halter is converted into 
a bridle. 

BITS: LEATHER. To cover 
an iron bit with leather, draw it 
over the iron wet, so that the 
edges come together, and channel 
it to allow the stitches tc sink 
below the surface of the leather. 

BLACK MINSTREL POW- 
DER. For blacking the face and 
hands, cut a few corks into small 
pieces, dip each piece in alcohol, 
and place them in a metal dish. 
Light them, and they will be con- 
verted into black powder. Mix 
this powder with stale beer or 
water to a paste. Beer gives 
more gloss than water. 

BLACKING: ELASTIC. Boil 
and mix 8 oz. white wax, 1 oz. 
transparent glue or isinglass, 2 
oz. gum senegal, 14 oz. white soap 
and 2 oz. brown candy in 3 Ib. 
water. Then add 2} oz. alcohol, 


BITS—BLACKING 


and when all is cool, 3 oz. finely- 
pulverised Frankfort black. 
BLACKING: HARNESS. (1) 
Boil together and mix 3 oz. bees- 
wax, 4 oz. ivory black, 2 oz, 
Castile soap, 2 oz. lard and 1 oz. 
aloes in 1 pt. neatsfoot or olive 
oil. (2) Melt and mix together 4 
oz. mutton fat and 12 oz. beeswax, 
Dissolve 4 oz. soft soap in water, 
and then dissolve in it 12 oz. sugar 
candy and 2 oz. finely-powdered 
indigo. Mix this liquid with the 
melted wax, and then stir in } pt. 
turpentine. Apply the blacking 
with a sponge and polish with a 
brush. (3) Simmer 2 oz. white 
wax in 3 oz. turpentine, and then 
stir in 1 oz. finely-ground ivory 
black. Take it off the fire and 
keep on stirring till the mixture 
is cold. Apply this blacking spar- 
ingly, and polish. (4) Mix 8 oz. 
finely-shred beeswax with 12 oz. 
turpentine, and let it stand three 
or four days till it is dissolved. 
Gradually add 4 oz. finely-ground 
ivory black and 2 oz. finely-ground 
Prussian blue to 2 oz. olive or 
neatsfoot oil, and then add the 
prepared turpentine. Should the 
blacking become hard with age, 


soften it with turpentine. (5) 
Mix 4 oz. beeswax, 2 oz. ivory 
black, 1 oz. turpentine, 1 oz. 


Prussian blue ground in oil, and 
1 oz. copal varnish. Make this 
paste up into balls, and apply it 
by rubbing the balls with a brush, 
then brushing the leather, and 


then polishing the leather with ~ 


another brush, and finally with 
silk. (6) For heavy parts, melt 
8 oz. tallow in 1 tablespoonful of 
flour paste, and then mix it with 
4 oz. ivory black, 4 oz. brown — 
sugar and a little gum-arabic 
dissolved in 1 qt. hot water. [See 
also POLISH (LEATHER), and BLACK- 
ING (LEATHER) ]. 
BLACKING: LEATHER. (1) 
Mix slowly 4 oz. ivory black and 
3 oz. sugar in a tablespoonful of 


BLACKING—BLEACH BEESWAX 


sweet oil and 1 pt. beer. 
Dissolve 3} oz. shellac in } pt. 
alcohol. Grind up smoothly 25 grs. 
lampblack in 6 drs. sweet or olive 
oil, and then mix it with the shellac 
varnish. (3) Dissolve a_ small 
amount of asphaltum in turpentine, 
add lampblack till it is as a thick 
paste, and then thin to the desired 
consistency with shellac varnish. 
BLACKING ¢ LEATHER, 
WATERPROOF. Mix 4 oz. 
tallow, 4 oz. beeswax, 4 oz. resin, 
1 pt. tanner’s oil, and lampblack 
to colour. This blacking is often 
also used as dubbin. 
BLACKING: SHOE. (1) 
Melt together over a slow fire 
4 oz. mutton suet, 1 oz. beeswax, 
1 oz. sweet oil, 1 dr. sugar candy 
and 1 dr. gum-arabic; when 
melted add 3 oz. turpentine, and 
lampblack to suit. Pour into a 
tin mould to cool. (2) Mix 3 
oz. ivory black with 1 tablespoon- 
ful sweet oil; squeeze in 4 lemon, 
and add 2 oz. brown sugar and 
1 pt. vinegar; then add 1 oz. 
sulphuric acid and 1 oz. hydro- 
chloric acid. (3) Mix slowly 2 oz. 
ivory black and 13 oz. brown 
sugar in 1 tablespoonful sweet 
oil; then add } pt. beer. (4) Add 
a piece of tallow the size of a 
walnut to 1 tablespoonful of hot 
flour paste; then add 4 oz. moist 
sugar, and mix with 1 qt. warm 
water and a little gum-arabic. 
BLACKING: STOVE. Apply 
black lead mixed with white of 
egg, turpentine, or cold tea with 
a paint brush, and when dry, 
polish with a stiff brush. 
BLANKETS: HOW TO 
CLEAN. Dissolve 2 large table- 
spoonfuls borax and 1 pt. soap 
(which does not contain any resin) 
in a tub, and leave the blanket to 
soak in this liquid for twelve hours. 
Drain, and then rinse the blanket 
in water at about 100° Fahr. 
Never wring the blanket, but hang 
it up to drain and dry. 


(2) 


19 


BLAST BOULDERS: How 
TO. Place a few ounces of dynamite 
on the top of the rock, and cover 
it with 4 to 6 in. of damp clay in 
such a way as to exclude all air. 
Fire with a fuse, cap or detona- 
tor. (2) To explode gunpowder, 
select a bottle of the size that will 
just hold the charge. Drill two 
holes through a tightly-fitting cork, 
and pass into the inside of the 
bottle two lengths of insulated 
copper wire through these holes. 
Connect the wire inside the bottle 
with 3 in. fine platinum wire, as 
shown in the illustration, and then 


connect a Grove or Bunsen cell 
across the free ends of the wire. 
If the platinum wire does not get 
red hot, place another cell in series. 


Now disconnect the cell, take out 


the cork and wire, and fill the 
bottle with gunpowder. Replace 
the cork in the bottle, so that the 
platinum wire is covered with 
powder, and then fire the charge 
by closing the electric circuit from 
a distance. If gunpowder be used, 
it must be placed in a hole drilled 
vertically down in the rock to 
receive it. 

BLEACH BEESWAX: HOW 
TO. (1) Melt 1 lb. beeswax, and 
mix with it 2 oz. nitrate of soda; 
then add slowly 1 oz. sulphuric 
acid diluted with 9 oz. water, 
stirring the melted wax with a 
glass rod. Let the wax set for a 
few hours, and then mix it up 
with hot water, till no acid is left 
in the wax. (2) Slice the wax 
into thin sheets, and expose them 


20 


to the sun till sufficiently bleached; 
then remelt, and mould into shape. 
BLEACH BONE: HOW TO. 


(1) Bol the bone in strong soapy 


water, to free it from grease, then 
rinse in clean water, and place it 
to dry in the sun. When dry, 
make it wet again, and replace in 
the sun. The bone must be 
dampened and dried in the sun 
over and over again till it becomes 
white. (2) Boil the bone in a 
solution of soda to remove all 
grease. Dissolve 1 dr. chloride 
of lime in 1 pt. water; immerse 
and leave the bone in this solution 
till bleached. 

BLEACH COTTONS: HOW 
TO. (1) Tie up about 1 qt. ashes 
in a cloth, and boil it in just suffi- 
cient water to cover it. Tie up } 
lb. chloride of lime in a stout piece 
of cloth, and rub it through into 
the water. Make sure that the 
lime is completely dissolved, and 
then immerse the cottons to be 
bleached. Stir the bleaching fluid 
and the cloth constantly, and often 
lift the cloth to the surface to let 
in air. Leave the cloth in from 
a half to three-quarters of an hour, 
depending on its quality. (2) Mix 
1 oz. oxalic acid in 6 pts. water. 
Stir while the cloth is in the fluid, 
and rinse twice in running water. 
(3) Dissolve 1 teacupful of borax 
in 12 gals. soft water, and treat 
the cloth as in No, 1. 

BLEACH FADED DRESSES: 
HOW TO. Add a handful of 
lime and 1 gill vinegar to sufficient 
water to wash the dress, and boil 
till all the lime is dissolved. Im- 
merse the dress in this bleaching 
fluid, and when sufficiently white, 
rinse and dry in the sun, 

BLEACH FERNS: HOW TO. 
(1) Gather the ferns after they 
have turned red or brown, and 
when quite dry. Dissolve 1 part 
chloride of soda in 2 parts water. 
Immerse the ferns in this solution, 
and stand them in direct sunlight 


TO. 


BLEACH BONE—BLEACH SPONGES 


till they turn white. Rinse in 
clean water; flatten them on a 
piece of glass; dab them with a 
cloth, and press them between 
sheets of white blotting-paper to 
dry. (2) Dissolve 2 oz. chloride 
of lime in 1 qt. water, and steep 
the fronds in it for twenty-four 
hours. Then take them out, and 
wash them well in a solution of 
20 gr. salicylic acid in 4 oz. spirits 
of wine. 

BLEACH FLANNEL: HOW 
TO. (1) To whiten yellow flannel. 
Soak for one hour in a weak solu- 
tion of bisulphate of soda, add 
and mix well a little muriatic acid, 
and cover the vessel for twenty 
minutes. Rinse in soft warm 
water, and dry in the sun. (2) 
Mix 1 lb. Marseilles soap in 20 lb. 
soft water, and 3 oz. spirits of sal- 


ammoniac. Immerse, and stir well | 


in this, rinse in warm water, and 
dry in the sun. 

BLEACH GRASSES: HOW 
TO. 


Expose the grasses to. 
sulphur fumes, but if the heat 
damage them, heat 4 parts 


flowers of sulphur with 5 parts 
finely-powdered oxide of manga- 
nese, and pass the fumes through 
water, and then to a closed wooden 
box in which the grasses are ex- 


posed. [See also BLEACH WOOL- 
LENS (How To)] 

BLEACH OLD LACES, 
ETC.: HOW TO. To bleach 


fine articles such as laces, which 
have turned yellow with age, 
place them in a large-mouthed 
glass jar, and fill up with luke- 
warm suds made from best white 
soap. Place the jar in direct 
sunlight, and shake the jar up 
occasionally, exposing a _ fresh 
face to the light each time. 
When bleached, rinse thoroughly 
in soft water. If the articles be 
dirty, change the suds as often 
as necessary. 

BLEACH SPONGES: HOW 
(1) Soak the sponges in 


BLEACH STRAW—BOAT 


dilute hydrochloric acid for twelve 
hours. Wash them well in water, 
and then immerse them in a 
solution of hyposulphite of soda, 
to which dilute hydrochloric acid 
has been added a moment before. 
When they are sufficiently white, 
wash them in clean water and 
dry. (2) Soak the sponges in 
a 1 per cent. solution of per- 
manganate of potassium; then 
rinse and wring them out, next 
immerse them in a solution of 
8 oz. hyposulphite of sodium in 
1 gal. water, to which 1 oz. oxalic 
acid has been previously added, 
for fifteen minutes. Then rinse 
thoroughly, and dry. 

BLEACH STRAW: HOW 
TO. (1) Pulverise stick sulphur, 
and mix it to a paste with water. 
Plaster this thickly over the 
straw ; place it in the sun to dry, 
and then brush the sulphur off, 
This is a method often used for 
bleaching straw hats, etc. (2) 
First steam the straw, and then 
expose it to sulphur fumes as for 
BLEACH WOOLLENS (How To). (3) 
Soak the straw for six hours in 
a tepid weak solution of soda. 
Dissolve 9 oz. permanganate of 
potash in 1 gal. warm water in an 
earthenware vessel, and then 
add water till it is of a dark red 
colour. Immerse the straw in 
this potash solution, and continu- 
ally agitate it till it is a light 
brown colour. Next wash it in 
clean water, and then immerse 
in a bath of a_ solution of 
bisulphide of soda, strong enough 
to give off a perceptible odour, 
for fifteen minutes. 

BLEACH WOOLLENS: HOW 
TO. Place some red-hot charcoal 
in an iron dish on the bottom ofa 
large box, or tea-chest. Steam or 
dampen the articles to be bleached, 
and suspend them in this box. Then 
strew powdered sulphur over the 
charcoal, and close the lid, or 
place a wet sack over the opening. 


21 


To bleach brown cloths, first boil 
them in weak lye, and then hang 
them up out of doors to dry for 
a few days. If the sun be hot, 
keep the cloth damp by sprinkling 
water over it. 

BLEACHING: CHLORINE. 
Heat 1 part by weight salt, 1 
part manganese dioxide, 2 parts 
sulphuric acid and 2 parts water. 
Chlorine gas will then be given 
off, which will bleach all animal 
and vegetable substances. 

BLEACHING FLUID. (1) 
Dissolve 8 oz. refined pulverised 
borax in 10 gals. hot water. (2) 
Put 1 Ib. lime into a bucket of 
boiling water, and leave it for 8 
hrs. Dissolve 2 lb. sal soda in 2 
gals. water over a slow fire, and 
then mix it with the lime water. 
One eggcupful of this fluid is 
sufficient for 3 pailfuls of boiling 
water. It should be kept in glass 
jars, as it attacks stoneware. 

BOAT: FLAT - BOTTOMED. 
(1) Size: 16 ft. long x 2ft.9in. beam 
x 9 in. depth. Make the bottom 
from § in. yellow deal match- 
boarding, but do not press the 
feather, and groove together 
tightly; leave about ;% in. be- 
tween, or the wood will warp 
when it gets wet. Nail fillets (a 
Fig. 1) along the bottom over the 
joints, having put canvas soaked: 
in pitch between the fillets and 
the match-boarding, and having 
given a good coat of white-lead 
paint to each feather and groove. 
Now screw down jin. sq. oaks (b) 
across the bottom 10 in. apart 
for frames. Cut two pieces of 
wood 5 in. x 21 in. for the nose 
and stern, as shown in Fig. 2, one 
view looking on the top, and the 
other at the side. Screw these 
down to the ends of the centre 
board of the bottom with brass 
screws. Make the sides from 3 in. 
deal 9 in. deep. Place a piece of 
14 in. wood under each end of 
the bottom, and weight down the 


22 


middle, so as to make the middle 
sag down 1} in. When it is thus 
bent, tie the sides in place, and 
screw them on with brass screws, 
placing the screws 4 in. apart 
along the bottom and 2 in. apart 
up the stem and _ stern pieces. 
Dress up the top edges of the 
sides level, and cut off the pieces 
projecting below the bottom at 
the ends. Now screw on a fillet 
(c Fig. 1). 1 in. x 4 in. round the 
top edge of the sides, letting 4 
in. project above, for the deck to 
butt against. Now steam eighteen 
pieces of $ in. oak [see Woop 
(How To STeAm)], for the deck 
frames (d); they will be slightly 
longer than the corresponding 


fig. 2 


frames across the bottom. When 
flexible, give each beam a set of 1 
in. for every foot in length; thus 
the centre frame will have a rise 
of 23 in, in the middle. Now fit 
2 in, oak (e) up the sides, and join 
them to the top and bottom por- 
tions of the frames with knees (f). 
Now give a good coat of white- 
lead paint all over, inside and out; 
and crowd.all holes with pitch, or, 
if large, with pitch and shredded 
canvas. Screw on to the under 
sides of the eleven middle deck 
frames two pieces of 3 in. square 
oak running parallel fore-and-aft 
20 in. apart. Cut away the 
portion between these two pieces 


BOAT 


of oak of the seven middle deck 
frames, so as to leave a hole for 
the well, 18 in. x 6 ft. 10 in. 
Now deck over with 4 in. yellow 
deal, and fix it down with brass 
nails or screws to the deck frames. 
Screw on a 3 in. coaming (h) round 
the well. Rub down the part 
already painted on the outside 
with water and pumice stone; 
give another coat of white lead 
paint, and then paint to the re- 
quired tint. Fig. 3 is a view of 
the boat looking from above. One- 
half of this illustration shows the 
deck removed, the other half the 
deck in place. 

(2) Cut two pieces of deal for 
the sides from $ in. boards, select 


ing those of clear run without any 
knots, 12 ft. long x 12 in. broad. 
From the bottom left-hand corner 
mark off a point 8 in. along the 
side, join this mark with the top 
left-hand corner, and saw off the 
triangle thus made, as shown in 
Fig. 1. Cuta similar board for the 
other side. Cut a board from 1} 
in. deal 15 in. broad, as shown in 
Fig. 2, for the stern piece; 1 ft. 6 
in. on the top, 15 in. deep, and 
12 in. on the bottom. Cut a board 
from 14 in. deal 12 in. broad, 
which is only for temporary use 
to give the boat swell in the body, 
3 ft. 6 in. long on the top, and 2 
ft. 10 in. long on the bottom, as 


BOMBAZINE 


- 


shown in Fig. 4. Put the stern 
piece along the slanting edges of 
the sides, and screw it temporarily 
there. Place the remaining board 
6 ft. from the stern, and screw it 
there temporarily with small 
screws. Cut a piece of wood 12 
in. long x 2 in. thick x 4 in. 
broad for the nose piece. Taper 
this on both the sides, which are 
4 ins. broad, till it is only 3} in. 
thick on one edge, but remains its 
full thickness of 2 in. on the 
other. Bring the front ends of the 
sides together to form the bows, 
till the two corners touch. Bevel 
these away all down the edge till 
when the ends are brought to- 
gether they make a fairly good 


23 


useful to prevent the rope slipping. 
Fit the stern piece in the same 
way that the nose piece was fitted. 
Take off the rope, and turn the 
boat bottom upwards. Dress off 
the bottom all over, so that the 
bottom boards will fit snugly, and 
then give the frame a coating of 
paint. Use § in. deal for the 
bottom boards 6 in. wide, and nail 
them in position with calico soaked 
in pitch as explained for PunrT. 
Screw a 3 in. deal plank 9 in. 
wide along the centre of the 
bottom of the boat, fitting into 
the nose, as shown in Fig. 3. Fix 
a seat about 7 ft. to 7 ft. 6 in. 
from the stern, and also seats in 
the bow and stern on cleats. 


joint, and end with a sharp edge. 
Now cover the nose piece with 
graphite or thin red-lead paint, 
insert it between the two ends of 
the sides, and move it slightly up 
and down. 
and where they are marked cut 
away. Repeat this operation 
till a good bearing is made all 
down the nose piece; then insert 
cotton cloth or calico soaked in 
pitch, and screw up firmly with 
brass screws. Bind the stern end 
of the boat with a rope, so that 
when the screws holding the sides 
on to the stern piece are removed, 
the sides do not spring out very 
far. A couple of screws in the 
bottom edge of the sides may be 


Then look at the ends, . 


These strengthen the boat at its 
weakest parts. Now take out the 
board(Fig. 4) screwed in temporarily 
to give the boat its swell, and plug 
up allthe holes made by the screws 
with hard wood dipped in red lead. 
Plug up any holes with hemp 
dipped in tar as explained for Punt, 
and then give two coats of white- 
lead paint, and then one coat of 
the required colour. 
BONMBAZINE: HOW TO 
CLEAN. Mix 1 teaspoonful of 
ox gall in 1 gal. of suds, and put 
the clothes through by _ hand- 
pressure alone, without rubbing. 
Rinse in lukewarm water, in which 
a little gum-arabic has been dis- 
solved. Do not wring, but squeeze 


24 


out the water, and when the goods 
are dry enough, iron them on the 
wrong side, 

BONE: HOW TO BEND. 
(1) If the bone be thin, boil it for 
half an hour in a_ solution of 
washing soda and water. When 
soft enough, bend to the desired 
shape, and bind in position with 
wire till set. (2) For thicker bone, 
horn and ivory, pour phosphoric 
acid into a dish, place the bone in 
it, and expose to the air. When 
soft enough, bend and bind the 
bone in place as before. (3) Old 
bone may sometimes be softened 
by steaming [see Woop (How To 
STEAM)]. 

BONE: HOW TO CLEAN. 
(1) Tie the bones down in water 
for about six weeks, and then place 
them in a glass jar, and expose 
them to sunlight. (2) Place the 
bones near an ant mound, and 
leave them there till the ants have 
eaten them clean [see also BLEACH 
BonE (How To); and Ivory (To 
CLEAN) ]. 

BOOK-BINDING. If the book 
to be bound is made from numbers 
of magazines, or the book is to be 
sewn together and cut, a press is 
necessary. To make the press, 
cut a piece of some hard wood (a, 
Fig. 1), about 18 in. x 6 in. x 

3 in., and plane it up true and 
square; then another piece (b, 
Fig. 1), 18 in. x 5} in. x 2 in. 
Place the two boards with their 
bottom edges together, and bore 
two 4 in. holes 3 in. up from the 
bottom, and 3 in. away from the 
ends. Fitin two 4 in. coach screws, 
and sink a washer at each end 
of each hole into the wood. Fly- 
nuts will be found more conveni- 
ent to tighten up than hexagon 
nuts. Now bolt the two boards 
together, and cut kerfs in the 
bottom edges, about 2 in. apart 
and 4 in. deep, with a fairly thick 
saw. For the cutter (c, Figs. 1 and 
2, the latter being a section cut at 


BONE—BOOK-BINDING 


right angles to Fig. 1), cut out a 
piece of iron l}in. x 33 in. x 1 in., 
and file up square. Then file two 
angular slots 1 in. apart and 4 in. 
deep, so that when the } in. round. 
wire (h, Figs. 1 and 2) rests in 
the slots, the bottom of the wire 
is exactly $ in. above the bottom 
of this small block. Now cut the 
slot (d, Fig. 2), #, in. x 2 in. To 
make the knife blade (e, Fig. 1 
and Fig. 3), cut a piece of tool 
steel, and file it up to exactly », 
in. x £ in. full, and bevel the 
edges, so that it fits tightly in the 
slot (d). Then shape as shown in 
Fig. 3, and drill two holes in it 
through which screws are passed 


i 


fig. 1 


to fix it on to the iron block (c). 
When the blade is screwed in 
place, file the bottom lightly till 
all is level, then take the blade 
out; temper it straw, and sharpen 
the cutting edge on a stone. Now 
cut a piece of iron (f, Figs. 1 and 2), 
lin. x 1} in. x lin. foracap. Place 
it on the top of the iron block (c), 
and drill a } in. tapping hole 
through the centre of it, and 3 in. 
into the iron block. Tap this hole 
in the iron block (d), and drill out 
the hole to } in. clearing in the 
cap. Screw in a } in. stud 1} in. 
long into the block (c), and fit a fly- 
nut to it to bolt down the cap. 
Cut two pieces of } in. round iron 


BOOK EDGES 


bar (h, Figs. 1 and 2), 8 in. long, 


25 


slid down. Then slack out the 


and fix them on to two sliding | fly-nut again, and tap the block 


guide blocks (i, Fig. 1). If a 
number of loose periodicals are 
to be bound, fold all the leaves 
of each number, so that the margin 
is parallel all the way down at the 
back. Then open each number in 
the middle, pass a needle and 
white cotton through and back 
again, tie firmly, and cut off. 
Stand the press with the kerfs 
resting on a level table, and place the 
numbers in, perfectly square one at 
a time, the back of each resting 
on the table, and thus level with 
the bottom of the press. When 
all are in position, screw up the 
two clamping screws, and lift up 
the press. Lay the press down 
side ways, each end being sup- 
ported, and drill holes through all 
the numbers through the saw- 
kerfs with as thin an awl as 
possible. It will not as a rule be 
necessary to drill through all the 
kerfs. Now pass a darning needle 
and twine through these holes, 
and tie up tightly on the outside. 
Slacken out the clamping screws, 
and raise the backs out of the 
press, say 1 in. Now tighten up 
the screws again, and fix with 
acid glue across the back two or 
more cross pieces of strong muslin, 
1 in. broad, and 2 in. longer than 
the thickness of the book for 
straps, and then glue another 
piece of muslin all down the back, 
and over these cross pieces. Take 
the book out of the press before 
the glue dries. If parchment be 
moistened and crumpled till per- 
fectly soft and flexible, it may be 
used instead of the muslin. When 
dry, place the book in the press, 
so that about } in. of the front 
edge of the leaves project beyond 
the top. Then place on the cutter, 
slack out the fly-nut which clamps 
the block and knife to the two iron 
bars, and fix it so that the knife 
will cut the first few pages when 


and knife so that it will cut a 
little deeper, and so on till the 
edges are trimmed. Then prepare 
the top and bottom edges in the 
same way. The covers may be 
bought, or made by cutting out 
two pieces of pasteboard, or they 
may be made of papier-mAaché, 
embossed leather, etc., 4 in. longer 
and 4 in. broader than the pages. 
Paste the straps, or projecting 
pieces of muslin on the back of 
the leaves to these covers, so that 
they will open easily, and yet 
have no slack. When dry, pasta 
the linen covering over the covers. 
and then paste down the fly-leaves, 
If there be no fly-leaves, paste a 
piece of thin but tough linen paper 
over the straps, reaching nearly 
to the edges of the cover. Another 
good strong binding is obtained 
by cutting a piece of thin tough 
drawing-paper just the size to go 
round the leaves, 1.e¢., the size ot 
two pages and the back, and 
cutting slits in it to allow the 
straps to come through. Now 
make it damp, not wet, and glue 
it on to the cover, fixing the 
straps down underneath. Muslin 
may be glued all down the back 
of the leaves instead of straps, 
but it should project at least 3 in. 
from it. The muslin is then 
pasted down to the cover, the fly- 
leaf on top. bs 
BOOK-EDGES: HOW TO 
GILD. Place the leaves level 
with the cheeks of the binding 
press, the cover being turned 
back, and screw up tightly. If 
necessary, file and sandpaper the 
leaves level. If the paper be 
unsized or spongy, size the edges, 
and leave to dry. Pour the white 
of a fresh egg into 4 pt. water, 
and beat it up till it froths slightly 
to form the glair. Spread this 
glair on the edges of the leaves; 
lay on the gold leaf; tickle it 


26 


down with a hare’s-foot, and leave 
for $ hr. Finish by placing a 
piece of writing paper over the 
leaf and using burnishers on the 
top, and finally use the burnishers 
on the gold leaf direct. 


BOOK-EDGES: HOW TO 
MARBLE. Dissolve 4 oz. gum- 
arabic in 2 qts. water. Mix 


colours with water, sprinkle them 
finely on the surface of the gum 
water, and curl and draw them 
into streaks with a stick. Hold 
the leaves of the book close 
together, and dip the edge only 
lightly on the surface of the 
liquid. 

BOOK-SHELF. Saw three or 
four lengths of some suitable wood 
from § in. boards 2 ft. long. Cut the 
bottom board 7 in. wide, the middle 
6 in. wide, and the top 5 in. wide, 
and round off all the edges, and 
sandpaper. One in. from each 
corner of each board bore } in. 
holes and thread these holes with 
blind cord, making knots in it for 
the shelves to rest on. Suspend 
the shelves by the cords on two 
nails driven into the wall. The 
nails will never draw out if in- 
clined downwards. 

BOOMERANG. (1) The 
boomerang is made from a piece 
of hard wood of medium weight, 
about 2 ft. to 3 ft. long x 2 in. to 

4 in. broad x 3 in. to 7 in. thick 
in the middle. Taper as shown 


LY 


in the illustration, one side being 
made nearly flat, and the other 
side convex, but the edges and 
ends being rounded off. Then 
bend to shape, which is approxi- 
mately a parabola, by steaming 


BOOK EDGES—BOTTLES 


[see Woop (How To STEam)]. It 
is discharged by holding the con- 
vex edge forward and the flat side 
downwards, in the right hand. 
It is swung from left to right, and 
just before leaving go a rotatory 
motion is given it with the wrist. 
(2) Cut a visiting card to shape 
shown in the smaller illustration. 
Lay it on the left hand, the hollow 
side .nearest, so that the arm pro- 
jects, and flick this projecting arm 
with the nail of the right middle 
finger. Incline the direction rather 
upwards. 

BOOTS: SQUEAKING. (1) 
To prevent boots squeaking, drive 
a row of pegs through the centre 
of the sole from toe to heel. (2) 
Saturate the sole with kerosene 
oil. 

BOTTLES: HOW TO. 
CLEAN. (1) Break a few raw 
egg-shells in the article, with cold 
water—if greasy, warm water— 


and soda. Shake well, and rinse 
with cold water. (2) Rinse with 
water and powdered charcoal. 


Charcoal left in for a few hours 
is also a good disinfectant. (3) 
If not greasy, half-fill the bottle 
with used tea-leaves, a little water, 
and a spoonful of vinegar; shake 
and rinse with cold water. (4) 
Mix hot suds, sand and ashes, 
and shake them up well in the 
bottle. Then rinse with ammo- 
nia water, then pure water. Set 
the bottle to drain, 
and when apparently 
dry, put it in an oven 
and bake it. Rinse 
with alcohol and cork 
it up. (5) Fill the 
bottle with blotting- 
paper and = water 
mixed to a pulp, and 

swing it vigorously round. 
BOTTLES: HOW TO MEND. 
Heat the bottle and the air in it 
to about 100° F., and press in the 
cork. Run cement over the 
cracks on the outside, and put 


BOW 


the bottle away to cool and the 
cement to set. 

BOW: CROSS-. Fora medium- 
sized gun select a board of light, 
strong wood 2 ft. 9 in. long x 64 
in. wide x 1 in. thick. 

From the top left-hand corner 
mark off 11 in. to the right, and 
3 in. down make another mark; 
join up these two points, and saw 
this triangle off, to form the top of 
the stock. From the bottom left- 
hand corner draw a line to a 
point 11 in. from the top left 
corner, but stopping 14 in. below 
the top edge; this will form the 
under side of the stock. Drawa 
line 13} in. below and parallel to 
the top edge; this will form the 
barrel. Cut outa ?in. square 44 in. 
from the right-hand end of the 
barrel, the top edge of the square 
being 4 in. from the top of the 


barrel. Leave the wood 2} in. 
deep where this hole comes, and 
bring it up to the under side of 
the barrel gradually, as shown 
in the illustration. The arrow 
groove must be planed out witha 
plough, a gouge not being accurate 
enough. Cut this groove 4 in. 
deep, and cut away to the bottom 
of the groove at the top of the 
stock, to form a notch for the 
bow-string to catch on. With a 
key-hole saw, cut a 3 in. slot for 
the trigger. Make the trigger 
from }in. iron plate to the shape 
shown in the illustration, and 
pivot it in place. If a plough 
plane cannot be obtained, the gun 
can be made as follows: Take 
two 4 in. boards as above, and 
one $3 in. board, Plane up, and 
square the edges. Screw all three 


27 


boards together with # in. screws, 
the two 3 in. boards being outside, 
and the top edge of middle 3 in. 
board being + in. below the level 
of the two outside boards; this 
will form the arrow channel. Now 
mark off the gun as before, and 
put in screws, so that when the 
gun is formed, the three pieces 
are held firmly together, and the 
screws do not foul the trigger or 
the square mortice hole. Round 
off all the sharp edges; sand- 
paper, and then rub over with a 
woollen cloth dampened _ with 
linseed oil. The bow is best made 
from strips of steel spring bent to 
the right shape, which should be 
bought, but a very good substitute 
may be made from English yew 
or lancewood. For length the 
bow should be twice the distance 
from the trigger to the mortice 


Roonaan - 


hole, t.e., for this bow about 2 ft, 
8 in. to 3 ft. For further par- 
ticulars of making the bow see 
Bow (Lonc-), the only difference 
being, that it is left square in the 
middle to fit into the mortice hole, 
and is wedged in tightly with two 
thin hardwood wedges. To sight 
the gun, fasten it firmly in a vice, 
and shoot at least 20 or 30 arrows 
at a board about 20 yards off. 
Find the central spot of all the 
arrow marks, and make a con- 
spicuous mark there. Leta piece 
of hoop iron into the stock just 
behind the trigger, and rather to 
one side, and file a V-shaped notch 
in the top of it with a three- 
cornered file. Drive a nail into 
one side, and near the other end 
of the arrow channel, and file it 
and the piece of hoop iron till the 


28 


gun is sighted to hit the central 
spot of the arrow marks. 

Elastic Cross-Bow: A _ small 
cross-gun can be made in the 
same proportions as the cross- 
bow, but smaller and using a stiff 
bow. For the string use two 
bits of strong rubber joined to- 
gether in the middle with a boot- 
lace to prevent the trigger and 
arrow from fraying it. 

BOW: LONG-. Split a straight 
well-grained piece of English yew, 
lancewood, hickory, or similar 
wood 12 in. broad x 1} in. thick 
x 4 ft. long, and plane it up square 
and true to ldin. x lin. Keep this 
section in the middle, but at 1 ft. 4 
in. from the end reduce the section 
to 14 in. x $ in.; at 8 in. from 
the ends to $in. x $in. bare, and 
just before the swelling at the end 
it should be fully % in. x in. 
Shape with a spoke-shave to the 
section shown; smooth down with 
sandpaper, and then rub with 
a woollen. cloth dampened with 
linseed oil. Finally glue a strip 

of velvet 6 in. long 
round the centre 
for a guide. The 
old English size 
for the length of 
a bow was the 
height of the man 
who used it, and thick in propor- 
_ tion; the arrow being the length 
of the arm from the arm-pit to the 
extended middle finger. These 
dimensions will, however, be found 
too big, and the weapon too 
strong for any one who has not 
had a great deal of practice. The 
notch cut from the string should 
be to such a depth that if the 
swelling * were planed off, the 
notch would leave a small mark. 
For a bow 6 ft. long, the arrows 
should be 2 ft. 9 in.; for a 4 ft. 
bow, 1 ft. 10 in. long. All the 
arrows for a particular bow should 
be of exactly the same weight and 
size. [For arrows see ARROWS.] 


BOW—BOX 


BOX: BULB-. Make a box of 
4 in. deal 1 ft. 8 in. long x 10in 
wide x 7 in. deep or of a pro 
portional size, and nail together 
with 1 in. brads. 

To ornament, select straight 
twigs with the bark left on about 
the thickness of the little finger. 
Split them in half, and tack them 
upon the box. First go round 
the edges, top and bottom; then 
up and down at the corners, and 
then divide into panels by tacking 
strips up and down at suitable 
distances apart; say five panels 
each 4 in. wide. Fill each panel 
with strips parallel to the four 
sides, and lessening in size till 
only a 2 in. square is left, and fill 
these squares up with a thin piece 
of wood. Line the box with zinc, 
or paint the inside with white-lead 
paint. Give the little panels a 
coat of white paint, and glue 
pressed ferns or bright leaves on 
them. Finally give the box a 
coating of varnish. 

BOX: NAIL-. Make the box 
about 15 in. long x 10 in. wide 
x 4in. deep. In the centre have 


a hand-piece, as shown, and divide 
the sides each into four sections, 


BOX—BRACKET 29 


Make the ends, sides and hand- (tiles. Paint the inside and fill 


- piece of 3 in. deal; the compart- 


ment divisions of in. deal. Make 
the middle division piece as shown 
in the illustration, and the cross- 
and handle-pieces in a similar way, 
so that they fit one into the other. 

BOX: WINDOW-. (1) From 
1 in. deal make a box 15 in. deep, 
as long as the window-sill is wide, 
and 18in. broad. Taper the box 
so that it is 18 in. broad at the 
top, and 14 in. at the bottom. 
Place it inside the room, and 
mount it on legs to bring it on 


a level with the window-sill. 
It should be painted, stained, 
covered with virgin cork, or 


covered with sticks, in a rustic 
fashion [see Box (BULB-)], the sticks 
being pealed, and then the whole 
varnished. The inside of the box 
must be thoroughly painted with 
white-lead paint, or better, lined 
with a_ water-tight 
Over the bottom spread broken 
flower-pots or stones 3 in. deep; 
in this set a double row of flower- 
pots, and then spread sand over 
the stones, and fill up with earth 
to the level of the top of the pots. 


‘Between the pots, bulbs, slips, 


and small plants may be started ; 
and at the corners any creeping 
plants, which may be trained over 
stiff wires set from corner to 
corner in the form of an arch. 
(2) This box is placed outside the 
window, and for length should fit 
snugly against the bricks at each 
end. Make it 12 or 14 in. broad 
x about 15 in. deep, and bore a 
few holes in the bottom, to drain 
off the water. If made of wood, 
it should be stained and oiled, or 
it may be made rustic fashion [see 
Box (BuLB-)]. Other ways are (a) 
to tack on virgin cork, and then 
varnish. (b) Cement in tiles, and 
hold them in place round the 
edges with a stout beading of 
wood. (c) Cover the box with 
linoleum painted to represent 


zinc box. |: 


as explained for No. 1. 

BOX: WOOD-PILE. Pilea 
number of straight twigs together 
evenly, gluing each firmly in place 
as it is laid on, until the piles are 
of the required size. When the 
glue is dry, saw the pile through 
crossways in slices, until a 
number of sheets of log-veneering, 
so to speak, are made. Take a 
plain deal box, paint the inside 
or line it with tin-foil, silk, etc., 
and cover the top, front and back 
with split spruce glued side by 
side. Now cover the sides with 
the log-veneer; polish the ends, 
and varnish all over. 

BRACKET: RUSTIC. 
Brackets can be made by gluing 


ao ga 


and nailing the limbs of trees 


30 


together as shown in the illustra- 
tions, or by splitting them down 
the centre and gluing them into 
a frame of boards [see Box 
(BuLB-)]. The lichens found on 
decaying logs may be dried and 
glued on, and the bracket then 
varnished all over with coach- 
makers varnish. 

BRASS: HOW TO 
HARDEN. Brass and copper 
can only be hardened by rolling 
or hammering. Very soft brass 
may be made a trifle harder by 
heating it to redness, and then 
allowing it to cool slowly. 

BRASS: HOW TO MELT. 
Place the brass in a sand crucible 
with borax, and bed it well down 
in the fire. 

BRASS: HOW TO SILVER. 
Before silvering the brass by any 
method, remove all grease from 
the metal by boiling it in a caustic 
potash solution; rinse, and then 
rub down with pumice powder and 
water. (1) Mix 1 oz. silver nitrate 
or silver chloride, 2 oz. common 
salt, and 7 oz. cream of tartar to 
a paste with distilled water. Put 
some of this on the brass, and rub 
it in with a cork cut in half, or 
with wash leather. Then wash, 
dry in boxwood sawdust, and 
lacquer or varnish to prevent 
oxidisation. (2) Mix 4 parts silver 
chloride, 8 parts washing soda, 
and 5 parts common salt with 
warm water till as a thin cream. 
Rub the mixture well on to the 
brass; then wash, and lacquer. 
(3) Dissolve 10 grs. silver nitrate in 
a wineglassful of distilled water. 
Dissolve 60 grs. cyanide of potas- 
sium in a wineglassful of distilled 
water. Mix these two solutions 
together, and boil the brass in the 
mixture for a few minutes. 

BRASS: HOW TO WET- 
COLOUR OR FROST. (1) Boil 
the brass in caustic potash; rinse 
it a few times in water, and then 
dip it into commercial nitric acid 


BRASS—BRICK-WORK 


till ail oxide is removed. Then 
rinse quickly; dry in boxwood 
sawdust, and lacquer. (2) Rub 
with emery stone as though using 
a scraper. 

BRASS: HOW TO WHITEN. 
Boil 2 lb. grain tin, and 14 Ib. 
cream of tartar in 1 gal. water. 
Clean the brass, and then pickle 
it in the mixture for a few minutes. 
[See also Brass (How TO SILVER)] 

BRAZING. File and scrape 
the surfaces to be joined bright 
and clean, and finish with emery 
cloth. Dissolve 8 oz. borax in 1 
pt. water, and dip the cleaned 
metal in it. If there be parts 
over which the solder and flux 
might run while liquid, mix black 
lead with water to a paste, and 
paint over these parts with it. 
Mix 1 part powdered borax with 
2 parts powdered spelter [see 
SOLDER (HarD oR BrRaAZING)], and 
apply it to the surfaces to be 
joined. Lay the metal on as- 
bestos, and heat it with a good 
large gas blow-pipe. If the metal 
be thin, care must be taken not 
to burn it. Runa stick of solder 
round the edges of the joint, when 
the powdered borax and spelter 
is liquid, and then holding the two 
pieces of metal together with a 
pair of tongs, brush off all the 
molten borax and spelter round 
the edges with a wire brush. 
Small articles may be brazed with 
a Bunsen burner, or even a spirit 
lamp. They may also be brazed 
by sprinkling the surfaces with 
powdered borax and spelter, and 
then clamping them together with 
black-hot pliers and keeping them 
thus till the spelter solidifies. 

BRICK-WORK. Bevel Foint: 
Press back the upper portion of 
the joint, while the mortar is wet, 
and cut off the lower edge square. 
The sloping edge throws off rain. 

Paving: Paving bricks are made 
specially hard, and are 1? in. thick. 
They should be laid on edge, and if 


: - 
e 4 
6 
, 


BRIDGE—BRONZE BRASS 


the situation be dry, they should 
be laid on sand; if damp, they 
should be laid in cement mortar, 
and cement grouted between each 
individual brick. 

Pointing Foint: Make the point- 
ing mortar of 2 parts clean fine 
sand, 1 part cement, and a little 
white lime. Mix only a_ small 
quantity at a time, and use it at 
once. It is best to point brickwork 
after heavy rains. If, however, 
the brickwork be dry, wet it 
thoroughly—not merely dampen 
it with a brush. Remove the 
original mortar to a depth of 4 in. 
to # in., and fill up with the fine 
mortar. Then (1) Bevel off with 
a trowel, and cut square, or (2) 
Colour the mortar, rub it down 
with a brick of the same colour, 
and cut a narrow groove down 
the centre. When the mortar has 
set, press pure white putty into 
the groove, and allow it to project 

in. 

BRIDGE: FRESHET. Where 
streams are liable to rise and 
sweep away small bridges, use 
a plank, with the end next to 
the side of approach fastened by 
a chain to a stake, fixed firmly 
into the ground. 

BRIQUETTES: COAL. (1) 
Mix 12 to 14 parts coal dust with 
I spart liquid tar; work till 
thoroughly mixed, and then press 
into moulds. (2) Mix coal dust 
and tar with just enough clay to 
make the mass cohere. Work 
together till thoroughly mixed, and 
then press into moulds. 

BRONZE BRASS: HOW TO. 
The brass must first be thoroughly 
cleaned and all grease removed. 
During the operation it should 
be held with brass wire, and not 
touched with the fingers. If not 
successful at first by immersion in 
the liquid, try drying the metal 
over a Bunsen burner or a spirit 
lamp. The proportions of the 
receipts may often be altered 


pe a 


3] 


with advantage, as brass alters 
so much in composition that a 
receipt cannot be always given 
which is equally good for all 
varieties. In nearly all cases, 
including all the greens, the brass 
should be washed, dried and burn- 
ished after immersion. Ina good 
many blacks and browns the brass 
should be lacquered. 

Black: (1) Paint with a mixture 
ofa solution of platinum chloride and 
nitrate oftin. This gives the rough 
black often seen on instruments. 
(2) Mix equal parts concentrated 
silver nitrate and concentrated 
copper nitrate, and shake up well. 
Immerse the brass in the mixture 
for a short time, then take it out, 
and heat evenly till the dull black 
colour comes. (3) Dissolve copper 
wire in 1 part nitric or sulphuric 
acid, and then add 2 or 3 parts 
water. Heat the article, and 
quench it in the solution; take it 
out, and heat again over a Bunsen 
flame or a spirit lamp. A green 
tint first appears, which eventually 
turns to a dead black. Finally, 
brush over thoroughly. This 
receipt is often used for instru- 
ments. [4] Immerse in a boiling 
solution of copper sulphate, alum 
and verdigris. 

Brown: (1) Heatthe brass to about 
120° Fahr., and then immerse in, or 
paint on, a solution of chloride of 
platinum. This is chiefly used for 
small articles. (2) Immerse the 
article in a solution of nitrate or 
chloride of iron; or asolution of 2 oz. 
nitrate of iron and 2 oz. hyposulphite 
of soda in 4 pt., water. (3) Dis- 
solve 1 oz. corrosive sublimate in 
1 oz. vinegar. This gives a rapid 
dark bronze. (4) A_ solution of 
nitro-muriate of platinum, some- 
times called ter-chloride of plati- 
num. A very rapid dark bronze. 
(5) Bind the brass with fine iron 
wire, and dip it in dilute sulphuric 
acid till of a red colour; then 
polish with black lead, and lacquer. 


32 


This is a cheap, but not very good 
method. 

Chocolate: (1) Mix rouge with a 
little chloride of platinum and water 
toa paste, and apply with a brush. 
When dry, polish with a medium 
stiff brush. (2) Thoroughly clean 
the surface, and cover with a thick 
coat of rouge and water. When 
dry, place the article in a hot fire- 
brick oven till the rouge has turned 
to the desired colour. Polish with 
a soft brush and rouge powder, and 
finally with chamois leather. This 
method is not suitable for soldered 
articles. (3) Melt and mix 1 oz. 
flowers of sulphur and 4 oz. pearl- 
ash in an iron ladle over a fire. 
Pour it out on to cold metal or 
stone; and when cold, place it in 
a jar, and pour 8 pts. boiling water 
over it. Leave it to settle, and 
then pour off the clear liquid. Dip 
the brass in nitric acid, wash, and 
then dip into the mixture; hang 
up to dry, and dip again. (4) Mix 
1 oz. potassium permanganate and 
5 oz. sulphate of iron in 4 oz. 
hydrochloric acid and 6 lb. water. 
Immerse the brass articles in this 
for 4 min., and if of the required 
tint, wash and dry in sawdust. If 
the articles be too dark, or a redder 
shade be desired, immerse for 1 
min. in the following immedi- 
ately: 1 oz. chromic acid, 1 oz. 
chloric acid, 1 oz. potassium per- 
manganate and 5 oz. sulphate of 
iron in 6} Ib. water at about 140° 
Fahr. Then rinse and dry in saw- 
dust. Ifthe articles be afterwards 
heated in an oven, the colour is 
greatly improved. (5) Cover with 
damp iron oxide, heat to a high 
temperature, and then polish with 
graphite. 

Green: (1) Dissolve 1 part per- 
chloride of iron in 2 pafts water. 
After immersion wash, dry and 
brush. The depth of tint depends on 
the length of immersion. (2) Give 
the brass repeated washes of dilute 
acetic acid, and expose it to am- 


BRONZE IRON—BRONZE POWDER 


monia fumes between each applica- 
tion. This is a good but long 
operation. (3) Paint with a solution 
of iron and arsenic in nitric acid. 
Then polish with lead glance, and 
lacquer. (4) Mix 24 drs. hydrochlor- 
ate of ammonia and 1 dr. salts of 
sorrel in 1 pt. dilute acetic acid. 
Apply in a warm room with a soft 
brush till of the required tint, allow- 
ing one coat to dry before applying 
the next. These receipts for colour- 
ing brass green may be used for 
making bronze castings look old or 
“ antique’”’. 

Steel Colour: (1) Immerse the 
brass in a boiling solution of arsenic 
chloride. (2) Mix 10 oz. green cop- 
peras, 8 oz. arsenic and 2 handfuls 
spiegel eisen in 7 lb. hydrochloric 
acid. Immerse the brass, and 
when it turns green, take it out 
and rub it with a scratch brush, 
using plenty of water. Then re- 
immerse for a moment; rinse, and 
scratch brush very lightly; rinse 
again; dry in sawdust; burnish, 
and lacquer. This is a cheap 
method often used for gas-fittings, 
etc. (3) Immerse in a solution of 
chloride of antimony. This gives 
an almost violet tint. 

BRONZE IRON: HOW TO. 
Clean the iron and immerse in 
a solution of sulphate of copper 
till covered with metallic copper ; 
then treat as in BRONZE BRas 
(How To). 

BRONZE PLASTER CASTS: 
HOW TO. Dissolve 1 oz. sal- 
ammoniac, 3 oz. cream tartar, and 
6 oz. common salt in 1 pt. hot 
water, and add 2 oz. copper nitrate 
dissolved in 1 pt. hot water. Mix 
well and apply with a brush. [See 
also BRONZE POWDER. ] 

BRONZE POWDER. Plum- 
bago may be added to any coloured 
metal powders to vary the shade. 
(1) Grind up the various metal 
leaves with honey in a mortar. 
Then add water two or three times 
and decant, eventually leaving the 


BROOMS—BRUSH 


metal as an impulpable powder. 
(2) Dissolve copper wire in nitric 
acid, then add iron filings, which 
will cause a bronze-coloured preci- 
pitate to fall. Wash this preci- 
pitate many times, till perfectly 
clean. (3) Mix and heat till melted 
together 100 parts sulphate of 
copper and 60 parts carbonate 
of soda. Then cool, grind, and 
add 15 parts fine cast-iron filings. 
Heat to a white heat for 20 
mins.; cool, powder, wash and dry. 
This gives a rusty-red powder. 

BROOMS. Select brooms made 
of vegetable fibre with a greenish 
tint. Hang them up by a ring 
fixed in the end when not in use, 
but do not hang them up near a 
fire. If wetted in boiling suds once 
a week, they are toughened and 
rendered more flexible. A broom 
out of shape should be damped and 
kept in shape under pressure till 
dry. 

BROOMS: RUBBER. Make 
the head from din. hard wood 6 in. 
deep x 20 in. long. Fix the pole 
firmly in the centre of the broad 
side, and brace firmly in position. 
Place a stiff piece of rubber about 
3 in. deep on the front side of the 
head so that it projects 1 in. below 
the bottom edge. Place a strip of 
wood over the rubber and screw it 
down on to the head, thus clamping 
the rubber in place. The bottom 
edge of the strip should be level 
with the bottom edge of the head. 
This broom is useful for cleaning 
the brick floors of stables, asphalt, 
etc. 

BRUSH: FEATHER. Select 
even-sized feathers and string them 
with a needle and twine at the 
base of the feathered part above 
the quill, then hammer the quills 
flat to make them lie close to the 
handle. Wet the handle with glue, 
secure one end of the twine and 
wrap the feathers round and round 
the handle till the brush is of the 
required size, 


As the feathers are | warm soft water, 


3 


33 


wound on, bind the stems close to 
the handle, keeping the quills wet 
with glue. In finishing the last row, 
bind them tightly and evenly all 
down the quills. Cover the twine 
with enamelled cloth or leather, 
with the edges pinked, then sew 
the edges firmly and glue in place. 

BRUSH: PAINT. Select 
bristles of uniform length and 
quality. The best grow on the 
shoulders of large swine. Select 
a common iron ferrule either round 
or oval. If the ferrule be round 
the handle should be round also; if 
oval, the handle should be flat with 
rounded corners. Fill the ferrule 


with the bristles—the stiff ends 
projecting a little over the top. 
Part them in the centre and insert 
the handle, point end first at the 
soft end and drive it up. If the 
handle is going in too loosely or 
too tightly, take it out and add or 
remove some ofthe bristles. When 


the handle is in, cut off the bristles 
a little above the ferrule, and incline 
the cut slightly from handle to 
ferrule. Coat the stumps with 
powdered resin, and apply a hot 
iron to sear the stumps and melt 
the resin. Then give the ferrule 
and the top of the bristles two coats 
of red-lead paint. 

Bridling: Cover the upper half 
with leather, and stitch it on, or 
wind with cord. The leather should 
only be drawn tight enough to keep 
the bristles straight. 

Cleaning: If used only occasion- 
ally, paint brushes may be washed 
with soap. Get rid of all the 
paint possible, saturate with soft 
soap, and work with the finger in 
Turpentine may 


34 


be used to start the paint from the 
middle. Then rinse until clean, 
and straighten the bristles, and 
when nearly dry, loosen the bristles 
to prevent the brush drying hard. 
If used often, soda only dissolved 
in cold water should be used. After 
well shaking, stand them on the 
handle in a shady place. To clean 
striping brushes, dip them in tur- 
pentine and wipe them on a cotton 
cloth, as long as colour is shown. 
Do not wipe brushes on the sharp 
edge of tin. After washing, roll 
paper round the bristles to keep 
them straight, and hang the 
brushes up. 

Improving: Before using, place 
the brushes bristles upwards, and 


pour good varnish into the roots; 
then leave for two or three days for 
the varnish to dry before using the 
brush. 

Keeping : If the brush is to be 
used frequently, let it stand in 
water or oil, or in a covered tin of 
slow-drying varnish. 

Striping: Striping brushes are 
best made from camel’s hair, or the 
long straight hairs from a squirrel’s 
tail. Comb out the hairs even, 
make them into bunches, and wind 
a part near the roots with fine 
thread; then draw the bunch into 
a suitable quill from the large end 
to the small. 

BRUSH: VARNISH. 
brush about 1} in., to 2 in. wide, 


BRUSH—BUDDING 


and preferably flat. Toclean, wipe 
the brushes and dip them in methy- 
lated spirits, and wipe till dry. 
Never wash them in turpentine. 

BUDDING. The shoot from 
which the buds are taken must be 
of the current year’s growth, and 
must have buds formed at the axils 
of the leaves, and at the end. The 
best buds for budding are those 
about the centre of the shoot. The 
bark must be in a condition to lift 
easily from the wood, and there 
must be sufficient sap between the 
two. Do not prune at the time of 
budding or just before, for the bud 
requires shade. If possible, bud on 
damp or cloudy days, late in the 
afternoon or in the early morning. 


Shield Budding : Cuta scion con- 
taining several good buds, and 
choose the north side of a smooth 
young limb for the stock. Witha 
sharp thin-bladed knife cut a slit 
through the bark, but not into the 
wood, | in. long, and a cross cut on 
the top of it. From the scion slice 
out a good bud, and leave a little of 
the bark attached. If cut into the 
wood, pick out the wood with the 
point of the knife without bruising 
the bark. Raise the bark of the 
stock, slipping the bud into the 
slit, and press it down to the bottom 
of the slit. Finish by binding with 
soft string or wool, to exclude 


Use aj air and moisture from all, except 


the point of the bud, as shown in 


BURNISHING—BUTTERFLY CABINET 


the illustrations. Do the whole 
process as quickly as possible. 
Loosen the bandages after 7 to 
10 days. 

BURNISHING, Burnishers can 
be made out of old files. These 
should be softened, filed and ground 
up to shape, polished, and then 
tempered to straw. Finally polish 
on a leather strop with polishing 
rouge, Venetian tripoli, or putty 
powder. Long handles should be 
fitted to the tools for working at 
the vice, so that they may rest 
on the arms or shoulders, and so 
greater pressure used. For lathe 
work, medium short handles are 
sufficient. There are two distinct 
methods of burnishing: (1) This 
method consists of two op..ations 
(a) ‘‘ Roughing,” in which operation 
the tools have a sharp edge; and 
the metal is scraped, soapy water 
or decoctions of linseed oil being 
used as a lubricant. (6) ‘ Finish- 
ing,” which is the true burnishing ; 
the tools being made of steel or 
agate, and having a rounded edge, 
and cream of tartar, vinegar, stale 
beer or alum solutions being used 
as a lubricant. The final finish 
being given with the tools worked 
dry. (2) First anneal the brass 
or gun-metal; then pickle it in 
nitric acid, and scour with sand. 
Immerse in the acid again till the 
metal is of the same colour all 
over; then rinse and dry in box- 
wood sawdust. Apply liquid ox-gall 
to the parts to be burnished, and 
then a solution of cream of tartar. 
Then burnish, and when finished 
rinse and dry in sawdust. 

BUSHES: HOW TO KILL. 
Cut down the bush in August; all 
branches above the size of the 
thumb should be cut below the 
level of the ground. 

BUTT: GARDEN WATER-. 
Take a water-tight barrel, and put it 
on a platform 6 ft. or more high, and 
at the bottom fix a common faucet. 
Procure a rubber hose, and at one 


35 


end fit a fine spray nozzle, which 
can be taken off and put on, and at 
the other end fit on a union joint, 
the faucet having a screw cut on 
it to fit. Fillthe butt with rain 
water in the morning, leave it all 
day exposed to the sun, and water 
the plants at night. Keep iron 
scraps and filings in the butt. 
Ammonia or any chemical needed 
can be mixed in it, and applied with 
the hose. 

BUTTERFLY CABINET. AI- 
most any wood, cedar excepted, is 
suitable for a butterfly cabinet ; but 
if the drawers are dovetailed or 
tongued, hard wood such as ma- 
hogany or oak should be used. 
The drawers are usually about 23 
in. deep. <A stock size for an 
eight-drawered cabinet is 22 in. high 
x 18 in. wide x 1lin. deep over all. 
If the bottom board be 4 in. thick, 
and a fillet 4 in. deep placed below 


FIG. 2. 


Fic. 1. 


it for a stand, and a 4 in. board for 
the top, the outside dimensions of 
each drawer will be 17} in. wide x 
102 in. broad x 2 ~, in. deep. The 
sides and back of the body, and the 
fronts of the drawers should be 
made from 3 in. wood; the bottoms, 
sides and backs of the drawers 
from + in. wood. The drawers are 
best made with dovetail joints for 
the back to the sides; lap dovetail 


36 


joints for the front tothe sides; and 
tongue and groove joints for the 
back, front and sides to the bottom. 
Groove and tongue joints through- 
out are however satisfactory. Two 
good methods are shown in Figs. 
1 and 2 for fixing the glass in the 
top of the drawer. Fig. 1 shows 
the cheapest and easiest method. 
In this the glass is hinged by tape 
at the back, and let into a groove 
all the way round, the bottom of 
the groove being covered with 
velvet, as indicated by a thick line, 
to exclude dust. Fig. 2 shows a 
better method. The sides are cut 
in two all the way round, and the 
glass is permanently fixed in the 
upper section. The two sections 
are hinged together at the back, 
and velvet is glued down at the 
joint, as indicated by the short thick 
lines. One ofthe most satisfactory 
ways of supporting the drawers 
in the chest is shown in Fig. 1. 
Grooves are cut in the inside of 
the sides of the chest from the 
back to within 4in. of the front 4 
in.deep x 4in. broad; and feathers 
¢ in. x 4 in. are then glued into 
these grooves. Grooves 4 in. x 
4 in. are cut in the outside of the 
sides of the drawers to within ¢ in. 
of the front, which exactly coincide 
with the feathers in the chest for 
them to slide in. A space is left 
between the drawer and the feather 
in the figure, but it is only so 
drawn for clearness. The joints 
should be as tight as possible with- 
out actual sticking, and powdered 
French chalk or black lead may 
be rubbed on the feathers for 
lubrication, if necessary. 

Soak the sheets of cork which are 
to line the bottom, and which can 
be purchased from any naturalist, 
in corrosive sublimate solution ; 
then fix them onto the bottom with 
paste or glue, to which carbolic 
acid has been added. Carbolic acid 
powder should in addition be 
pressed into the holes and between 


BUTTERRPLY WINGS—CARDBOARD 


the joints of the pieces of cork, 
and camphor kept in each drawer 
in small perforated boxes fixed in 
the corners. 

BUTTERFLY WINGS: HOW 
TO COPY. Remove the wings 
from a butterfly with a pair of for- 
ceps, and brush pure collodion 
over them. Brush collodion also 
on good stout paper, and then 
place the wings on the paper in 
their natural positions. The whole 
must be done quickly before the 
collodion dries. When dry, remove 
the wings from the paper, and 
then draw the body of the insect 
in position. 


CANDLE COMPOSITION. 
Melt 10 oz. mutton fat, # oz. cam- 
phor, 4 oz. beeswax and 2 oz. alum. 
Dip or mould them in the usual way. 

CANE=j=WORK: HOW TO 
WASH. Wash the wrong side of 
the cane with hot water and a 
sponge till thoroughly soaked, but 
only use soap with the water if it 
be very dirty. Then wash lightly 
on the right side without soap, and 
leave to dry in the open air. 

CARBON PAPER. (1) Melt 
and mix 2 oz. tallow, 3 oz. powdered 
black lead, # pt. linseed oil, and 
enough lampblack, Paris blue or 
suitable pigment to bring to the 
consistency of cream. Rub this. 
mixture well into the paper whilst 
hot. (2) (a) Powder coarsely and 
mix 10 oz. Paris blue, 20 oz. olive 
oiland 7 0z. glycerine. Expose to 
the hot sun for a week, and then 
grind as fine as possible in a mortar. 
(b) Melt 4 0z. yellow wax with 74 
oz. ligroine, and then add it slowly 
and mix it with 3 oz. of (a). The 
mass, which should be like honey, 
is applied with a stiff brush to 
one side of tough thin paper, then 
rubbed in evenly, and dried for a 
few minutes at the temperature of 
boiling water. 

CARDBOARD: HOW TO 
HARDEN. Pickle the cardboard 


, 


CARPETS—CARRIAGE RATTLING 


in silicate of soda for 3 hrs., and 
then hang it up to dry. 

CARPETS: HOWTO CLEAN. 
(1) Cover the carpet with old damp 
tea-leaves or scraps of paper, and 
then brush them off. Only touch 
the carpet lightly with the broom, 
half the weight of the broom being 
sufficient pressure. (2) Dipa white 
cotton or woollen cloth in a pail of 
clean water, to which a little harts- 
‘horn may have been added, wring 
the water out, and rub the carpet 
with it. Immediately the rag be- 
comes dirty, rinse the rag in the pail, 
wring it out, and rub again. Ifthe 
carpet be very dirty, a scrubbing 
brush and soap may be used. (3) 
Dip a clean woollen mop ina pail 
of water, in which there is a little 
hartshorn, or in a pail of soap suds. 
Wring the mop half-dry, and then 
rub the carpet hard. The mop 
should be rinsed after rubbing 
every yard or two, and clean water 
frequently replaced in the pail. 
Then go over again with clean 
warm rinsing water, to which alum 
should be added if there be any 
green in the carpet; and then go 
over with a dry mop. However 
a carpet be cleaned, the surface 
only should be dampened, and not 
made wet through. 

CARPETS: HOW TO LAY. 
Put brown paper or folded pieces 
of newspaper under the carpet 
before laying it down. For stair 
carpets it is best to nail old carpet- 
ing or several thicknesses of canvas 
before putting down, or paper may 
be used. Buy more stair carpet 
than is necessary and move it up 
several times each season if much 
used, so as to bring a new surface 
at the edge of each step. 

CARPETS: RAG. Cotton rags 
should be cut a little wider than 
woollen rags if both are to be used 
in one mat; and each colour and 
material should be wound on 
separate balls. Take breadths of 
the same kind and colour and sew 


37 


them across twice, preferably with 
a lock-stitch sewing machine. Tear 
the strips the width required, cut- 
ting across the seams. Ifasmooth 
carpet be required, use chiefly 
cotton rags, and a few thin woollen 
ones. Any light, mixed or plaided 
woollens are improved by dipping 
them in a good red dye. Clean 
white rags may be dyed before 
being woven. Light rags weigh 1 
to 14 lb. per square yd.; heavier 
rags 14 to 2 lb. per square yd. 
Measure the size of the carpet 
required, and send the rags to a 
weaver with a pattern, bearing in 
mind that carpets often shrink in 
length, and stretch in breadth after 
being made [see also RuG (WOVEN) ]. 

CARRIAGE: HOW TO 
CLEAN. Remove the mud by 
dashing water over the carriage. 
Do not use a cloth of any sort till 
the mud has disappeared, or the 
grit will scratch the varnish; 
then apply a sponge well saturated 
with water. If possible, do not 
let the mud dry on, but wash the 
carriage while it is still wet. 
Polish with chamois leather, taking 
care never to use the same leather 
for the body of the carriage, that 
has been used on the hub, or on 
anything greasy. 

CARRIAGE: HOW TO PRE- 
SERVE. Carriages should not 
stand still in the sun, but they 
should either be placed in the 
shade, or kept in motion. When 
standing in the coach-house a cover- 
ing made of American cloth should 
be drawn over like a sack, or it 
may be made large and square to 
hang over the sides and ends. Do 
not keep carriages with the leather 
tops down, and open the aprons 
frequently. The coach-house should 
be separate from the stables, or 
the varnish will dry and crumble 
off, and the leather will then crack. 

CARRIAGE RATTLING: 
HOW TO PREVENT. If 
necessary put a washer of sole- 


38 


leather on the spindles of the axle- 
trees, also rubber between the thill 
iron and clip. Coal oil on the circle 
stops squeaking. Nuts which peri- 
odically work loose should have 
locking washers or nuts put on. 
A good lock nut is one with a slit 
in it near the top, and when the 
nut is screwed up tight, this slit is 
closed with a blow from a hammer. 
Spring washers are also very good. 
A common way is to cut a notch 
in the screw just at the top of the 
nut with a flat chisel, holding a 
weight or “ dolly’ on the opposite 
side of the nut. 

CASE-HARDENING, (1) Place 
the article to be hardened in an 
iron case at least 1 in. longer in 
each direction than the article, and 
then ram in tightly shreads of 
horn, hoof, bone or leather, the 
shreds being either dry or mixed 
with vinegar and salt, or white 
wine. Subject all to a blood-red 
heat for from 5 mins. to 2 hrs., 
depending on the size of the article, 
and then quench in cold water. 
This will give a hard skin about 7; 
in. thick. (2) Polish the surface of 
the metal, heat to a bright red, 
and rub the surface over with (a) 
prussiate of potash; (b) mixture of 
3 parts prussiate of potash, and 1 
part sal-ammoniac; (c) mixture of 
1 part prussiate of potash, 2 parts 
sal-ammoniac and 2 parts bone 
dust. Allow the metal to cool to 
a dull red before quenching it in 
cold water. This method only 
givesa hard skin of no appreciable 
thickness. 

CASTINGS, For making the 
mould to cast small articles of zinc, 
lead, etc., mix equal parts sand 
and plaster of Paris, Allow it to 
set thoroughly, and then dry it in 
an oven, for if there be any 
moisture left, the castings will be 
spongy or blistered. For larger 
articles use ordinary moulder’s 
sand, and make it so damp that 
it will readily cohere but will not 


CASE-HARDENING—CASTS 


stick to the fingers. Dust over the 
patterns and along the junctions 
of the sand with finely powdered 
resin or burnt sand. 

CASTS: PLASTER FISH-, 
First wash the fish in dilute 
sulphuric acid or strong vinegar 
to remove the natural slime, and 
thendry. Placeit ona piece of wood 
or cardboard and nail a fence round 
about 1 in. higher than the highest 
part of the body. Now pack under- 
neath the fish with small pieces of 
wood and fill up with well-mixed 
and medium thin modeller’s clay 
until the lower half is enveloped, 
and then smooth the top of the 
clay all round with a putty knife. 
Mix up best plaster of Paris in 
water, a little at a time, to the 
consistency of thick cream, and 
pour it over the fish till it is covered 
over 1 in. thick, as shown in the 
illustration. After 30 mins. lift up 


WS AVLBEALBSACAABLBAES SSELESELERBAELBEAD 


the plaster, and tap it till the fish 
falls out. Coat the inside with a 
lather of shaving soap and oil, and 
fill up with best plaster made up 
to the consistency of thick cream. 
The cast will be an exact reproduc- 
tion of half the fish on a plaster 
slab. If it be desired to make a 
cast of the whole fish, when the 
plaster is set, after being poured 
over the fish on the clay base, turn 
the whole upside down and remove 
the clay, leaving the fish on the 
plaster. Drill four small holes_ 
round the edge of the half mould, 
build up clay walls and cast the 
other half. Now remove the fish, 
drill a hole in one side of the cast 
and fill the mould up with plaster 
or wax through thishole. Another 
way is to make a half cast from 


CATAPULT—CEMENT 


each mould and join them to- 
gether. 

CATAPULT, The fork for the 
catapult may be cut from thickish 
fretwood to the shape shown in 
Fig. 1, or better still, cut from a 
hedge, and if the prongs be not 
exactly symmetrical, steam the 
wood and then bend and bind to 
the desired shape [see Woop (How 
TO STEAM)]. Bore a hole near the 
top of each prong with a red hot 
needle for the elastic to pass 
through. The elastic may be fixed 
to the fork as shown in Fig. 3 or Fig. 
4. Double over the last 14 in. of 
the elastic, and place a piece of stiff 
thread through the loop. Pull the 


1 2 > 
5 


end of the thread through the hole 
in the prong, and then pull the 
thread with one hand and the two 
thicknesses of elastic in the other 
quite tight, till the fork can be 
easily run along the thread and 
over the elastic, Then cut off the 
short end of the elastic nearly flush, 
as shown in Fig. 3. This method of 
securing the elastic is neat and 
safe. To thread as shown in Fig. 4, 
cut the end of the elastic to a long 
thin point, and thread it through 
the hole. Now damp the elastic, 
catch hold of it on both sides of the 
prong, stretch tight and press the 


39 


prong along the elastic. Tiea knot 
in the end of the elastic to prevent 
it pulling out, or bind it to the fork 
with very fine copper wire as 
shown. The sling should be made 
of stout glove leather, or for heavier 
elastic, best calf. It may be bound 
on to the elastic with fine copper 
wire, or slots cut in the ends and 
slipped over and pulled tight as 
shown in Fig. 5. 

CEILINGS: CRACKED. Mix 
whiting with glue water or cal- 
cined plaster and pure water, and 
apply as putty. 

CELLAR: CASK. Sinka head- 
less barrel, or a box with its top and 
bottom knocked out, half its depth 
in the ground, and bank up the 
excavated earth round the pro- 
truding part. If possible construct 
this cellar on a hill side to secure 
good drainage; but if not, dig a de- 
clining ditch round it, and throw in 
rails and straw and cover over. A 
tight-fitting lid should be fitted on 
the top, and during cold weather 
the whole should be covered with 
straw or hay. 

CELLAR: DAMP. If acellar 
be damp, sink achannel nearly 1 ft. 
deep entirely around and close to 
the wall, and lay a course of drain 
tiles in the bottom of it. 

CEMENT. All cements that 
are melted or warmed up for use 
should be applied to warmed 
surfaces, and the temperature of 
those surfaces should be as nearly 
as possible the same as the cement. 
Fatty matter must be removed, 
particular care being taken with 
cooking utensils. Only as much 
cement as is necessary should be 
applied ; all air should be excluded 
from the joint, and the surfaces to 
be joined brought as near together 
as possible, and held thus till the 
cement is set. For this purpose 
elastic bands or strips of gummed 
paper may be used; and with bad 
breakages a wax mould may be 
employed for a backing, to keep the 


40 


bands or strips and the broken 
pieces in place. The broken pieces 
should not be fitted together over 
and over again before being 
cemented together, or the sharp 
points and edges will be broken off. 
CEMENT: ACID-PROOF. (1) 
Make a concentrated solution of 
silicate of soda, and form it into 
a paste with powdered glass. (2) 
Melt together and mix 1 oz. pitch 
and 1 oz. resin; then add 1 oz. 
plaster of Paris and mix thoroughly. 
Any cements formed of pitch, resin, 
etc., such as the marine glues and 
aquarium cements, are suitable. 
CEMENT: AMBER. Dissolve 
hard copal in pure ether to the 
consistency of castor oil, and keep 
it in an air-tight glass-stoppered 
bottle. The cement should be 
quickly applied, and the pieces 
held firmly together for two or 
three days. Any cement which is 
pressed out of the cracks should be 
removed whilst it is wet. 
CEMENT: AQUARIUM. (1) 
Boil 8 oz. strong glue, 1 oz. varnish 
and 1 oz. linseed oil or 3 oz. Venice 
turpentine together and thoroughly 
mix. This cement takes about 
three days to set. (2) Melt 1 
eggcupful of oil, 4 oz. tar and 1 
Ib. resin over a gentle fire. If it 
be too brittle when cold, melt it up 
again and add moretar ; if too soft, 
add more resin. (3) Mix 3 parts 
litharge, 3 parts plaster of Paris, 3 
parts fine sharp sand and 1 part 
powdered resin, and keep inan air- 
tight bottle. To use, make up toa 
putty with linseed oil, (4) Warm 
and mix 3 parts gutta-percha, 1 
part Stockholm tar and 1 part 
pitch. (5) For repairs; mix 2 oz. 
white lead, 1 oz. red lead and 1 oz. 
litharge with linseed oil to a putty. 
Cut a piece of flannel to the required 
size, smear it with the cement, and 
press it down over the crack. 
CEMENT: BOTTLE. (1) Mix 
well-pulverised litharge with pure 
glycerine, and apply it all over the 


CEMENT 


exposed portion of the cork, and 
round the junction of the cork and 
the bottle. This makes the bottle 
air-tight, yet the cork can be readily 
removed. (2) Heat and mix 15 
parts resin, 4 parts tallow or 3 
parts wax, and 6 parts dry red ochre 
or lampblack. Apply as sealing 
wax. | 

CEMENT : CASEINE. Caseine 
cements do not resist water well— 
unless very concentrated; but they 
form a material that is better than 
putty for inside use, and make an 
excellent filler for wood. (1) Knead 
3 parts fresh white cheese till 
only pure caseine remains, and 
then add 1 part powdered quick- 
lime. (2) Mix 200 parts caseine 
with 40 parts quicklime and 1 part 
camphor. Keep in an air-tight 
bottle, and mix with water just 
before use. (3) Boil Gloucester 
cheese three times in water allow- 
ing the water to evaporate each 
time. Mix the paste thus formed 
with the white of eggs beaten up 
and dry quicklime. 

CEMENT: CASK. Boil 10 parts 
strong glue, 5 parts linseed oil 
varnish and 1 part oxide of lead 
together for 10 min., and apply hot. 
This cement remains waterproof 
as long as it is kept away from lye. 

CEMENT: CELLULOID. Dis- 
solve powdered celluloid in acetone 
or in camphorated spirit (camphor 
dissolved in methylated spirits) to 
the consistency of cream. After 
application keep the article in a 
warm dry place, or the cement will 
turn milky. 

CEMENT: CHINA. (1) Apply 
pure white-lead or zinc paint mixed 
rather thicker than usual to both of 
the edges to be joined together, 
and bind in place. Paint freshly 
mixed is not so good as that which 
has been mixed some time. This 
is one of the best cements, if the 
cemented article be placed in a cool 
dry place, and two or three months 
can be allowed for the cement to 


CEMENT 


set. To cement coloured china, 
mix the necessary pigments with 
the white paint. (2) Mix equal 
parts of fine glue, white of egg, 
and white lead. (3) Mix 6 parts 
water with 6 parts spirits of wine, 
then add 2 parts wheat flour and 
3 parts purified pulverised chalk. 
Place the mixture in a glue pot 
with 1 part glue and heat till dis- 
solved, then add 1 part turpentine 
and leave tocool. (4) Stir and mix 
up thoroughly but quickly 10 parts 
powdered glass, 20 parts fluor-spar 
or pipeclay and 60 parts silicate 
of soda solution, and apply im- 
mediately. This cement sets very 
hard, and resists heat. (5) For 
large articles melt and mix 1 oz. 
beeswax and 4 oz. resin, and then 
add 5 oz. plaster of Paris. (6) Mix 
1 teacupful of milk with 1 teacupful 
of vinegar ; separate the curds, and 
add the whey to the whites of 2 or 
3eggs. Beat thoroughly together, 
and then add quicklime through a 
sieve till as a thick cream. This 
cement should be used immediately 
it is made, and it is then fireproof 
and waterproof. See also CEMENT 
(Giass), and add ivory dust, mag- 
nesia or whiting. 

CEMENT: CROCKERY. Mix 
2 parts slaked lime, 2 parts borax 
and 1 part litharge to a paste with 
water. Heat the material at the 
fracture before applying the cement. 
This cement is useful for terra- 
cotta, tile work, etc., and it is 
exceedingly strong. 

CEMENT: DRY. Mix 2 parts 
sifted wood ash, 3 parts clay and 
1 part sand with oil. This cement 
should be used before it begins to 
harden, and is suitable for out-door 
work. 

CEMENT: FIREPROOF. (1) 
For earthenware tubes and pipes 
exposed to excessive heat, mix 
4 parts peroxide of manganese, 5 
parts white oxide of zinc and 1 part 
silicate of soda. This melts at an 
extremely high temperature, and 


4] 


forms a sort of glass. (2) Mix 8 
parts dry and pulverised clay, 4 
parts iron filings free from rust, 2 
parts peroxide of manganese, | part 
common salt and 1 part borax. 
Add water till as a thick paste, 
apply immediately, and then gradu- 
ally raise the temperature to a 
white heat. (3) Mix 2 parts man- 
ganese, 4 parts grey oxide of zinc 
and 8 parts clay, with from 1 to 
2 parts linseed oil varnish. This 
cement is useful for chemical ap- 
paratus. (4) Mix 50 parts clay with 
1 part powdered glass, and heat 
till the glass melts. 

CEMENT: GASFITTER’S. 
Melt and mix 5 lb. resin, 1 Ib. 
beeswax, | lb. red ochre and } lb. 
plaster of Paris. Fine brick dust 
may be substituted for the red 
ochre and plaster of Paris. 

CEMENT: GLASS. Balsam: 
Warm Canada balsam and apply 
it to the edges to be cemented. 
This cement is good for fixing 
lenses, etc., but it will not stand 
heat. 

Chinese: (1) Mix 10 oz. bullocks’ 
blood with 1 oz. quicklime, and 
leave it to become a stiff jelly. To 
use, dissolve the jellyin water. (2) 
Mix 40 parts slaked lime, 30 parts 
stirred ox blood and 1 part alum. 
This cement is also useful for light 
wood-work, basket-work, etc., and 
is waterproof. 

Diamond or Turkish: (1) Warm, 
mix and filter 4 parts fish glue 
in 28 parts water and 12 parts 
alcohol. Dissolve 2 parts gum- 
mastic in 16 parts alcohol, and 
add it to the glue solution; then 
add 1 part gum-ammoniac. This 
cement resists warm, but not boiling 
water. (2) Mix 1 oz. isinglass, 54 oz. 
vinegar, 2 oz. alcohol, 4 oz. gum- 
ammoniac and 4 oz. gum-mastic. 

Metal: To cement glass to 
metal. (1) Mix best litharge with 
glycerine to athick paste, Cover 
the surfaces to be cemented with 
glycerine, and apply the cement. 


42 


This cement is unaffected by oil or 
acid, and is very strong. (2) Stir 
powdered slaked lime in hot glue. 
(3) Line the parts to be joined with 
alum, press them together, and heat. 

Sealing Wax: Warm the edges 
of the article to be cemented suffi- 
ciently to melt the sealing wax, 
and then bind firmly till cold. 

Shellac: (1) Add 1 part turps 
to 2 parts shellac, and boil over a 
slow fire. Cut up into cakes whilst 
still warm, and heat over a flame 
before use. (2) Dissolve shellac 
in methylated spirits and evaporate 
till as a thick honey. (3) Place 20 
parts shellac and 1 part flowers of 
sulphur in a glue kettle, and heat. 
Add only just enough water for all 
to become liquid. Then pour it out 
into moulds, and use as ordinary 
glue. 

CEMENT: HORN. This ce- 
ment is useful for uniting horn, but 
more particularly for filling up 
cracks in horses’ hoofs. Heat 2 
parts gutta-percha in a water bath, 
and then add 1 part powdered resin. 
[See also HORN (IMITATION)] 

CEMENT: IRON. Cloth: To 
cement iron to cloth, mix 4 parts 
white lead, 8 parts whiting and 3 
parts red lead with boiled oil toa 
thick paste. 

Fireproof: (1) To fill up holes in 
stoves, mix pulverised binoxide of 
magnesia with a strong solution of 
silicate of soda to a thick paste. 
Fill up the cracks and heat up the 
stove slowly. (2) Mix 10 parts clay 
and 5 parts iron filings in 2 parts 
strong vinegar and 3 parts water, 
(3) Melt 1 part salt and 1 part 
borax in water, and then add 4 
parts iron filings, 9 parts dry 
powdered clay and 2 parts peroxide 
of manganese. This forms a hard 
glassy cement at a white heat. 
[See also CEMENT (FIREPROOF)] 

Flange Foint: Mix red-lead to 
white-lead ground in oil till as a 
stiff paste. Lay it on a flat hard 
surface and pound it with a hammer 


CEMENT 


until soft and elastic and will not 
stick to the fingers. Cut a piece of 
calico the size and shape of the 
joint, smear over both sides of it 
with this putty, and bolt up. In 
some cases, where the faces make 
a good fit, the calico may be 
omitted. To make a washer 
steam- or water-tight, smear a 
hemp grommet or ring with this 
red lead putty and bolt up. 

Rust Foint: (1) Mix 50 parts 
iron filings with 5 parts water and 
1 part sal-ammoniac. This cement 
is best where it can be rammed 
into the joint between cast iron, 
and left for some time to rust. (2) 
Mix 130 parts iron filings, 5 parts 
sal-ammoniac, and 3 parts flowers of 
sulphur . with 2 parts sulphuric 
acid and water to form a thick 
putty. (3) Mix 5 lb. iron filings or 
turnings, 1 oz. sal-ammoniac and 
2 oz. flowers of sulphur to a thick 
paste with water. This cement is 
quicker drying, but not quite so 
strong as No. 1. 

Stone: To cement iron to stone. 
(1) Mix glycerine with litharge. 
This cement sets quickly. (2) Mix 
oxide of lead, litharge and glycerine. 

Wood: To cement iron to wood, 
saturate the surface of the wood 
with a concentrated solution of 
sal-ammoniac, and clamp the iron 
tightly down on to it. 

[See also CEMENT (METAL)] 

CEMENT: IVORY. Mixivory 
powder, bone powder or egg shells 
with water, and grind them to an 
impalpable dust in a mortar. Mix 
this with glycerine and glue or 
gelatine to form a paste. [See also 
CEMENT (CHINA), or any trans- 
parent cement mixed with oxide of 
zinc tillas a syrup may be used.] 

CEMENT: JEWELLER’S. 
To cement small jewels and pieces 
of glass to metal use (1) Turkish or 
diamond cement. [See CEMENT 
(GLass: Diamond)] (2) Mix 1 part 
pure gum-masticin 2 parts solution 
of fish glue. 


CEMENT 


43 


CEMENT: KNIFE-~HANDLE.:| gutta-percha in 30 parts petroleum. 


(1) Mix 4 oz. resin, 4 oz. shred 
beeswax and 1 oz. plaster of 
Paris. Fill the hole in the handle 
with this, heat the tang of the 
blade and force if down the handle, 
making it melt the cement. (2) 
Mix 20 parts resin, 5 parts sulphur 
and 8 parts iron filings and proceed 
asin No.1. (3) Melt 4 oz. colophony 
and 2 oz. sulphur and cast into 
bars. To use, pulverise and mix 3 
part brick dust or iron filings with 
the powder and proceed as in No. 1. 

CEMENT: LAMP. To fix the 
metal rim of a lamp to the china 
or glass bowl: (1) Boil 3 parts 
resin and 1 part caustic soda in 5 
parts water, then mix it with 4 or 5 
parts plaster of Paris and apply 
immediately. This cement takes 
about 30 mins. to set, but if white- 
lead, zinc white, or air-slaked lime 
be substituted for the plaster of 
Paris, it will take longer. (2) Line 
the parts to be united with alum, 
press together and heat. (3) Mix 
fine plaster of Paris with gum- 
arabic and water. These three 
cements are oil and practically 
fireproof. 

CEMENT: LEATHER. (1) 
Mix 1 part shred glue with 1 
part shred isinglass; just cover 
with water and leave for 12 hours. 
Then bring it gradually to a boil 
and add pure tannin until the whole 
becomes “ropey’’or appears like the 
white ofeggs. Buffoffthe surfaces 
of the leather, apply the cement 
and clamp together. This cement 
is useful for making joints in leather 
belting in conjunction with sewing. 
(2) Mix 10 parts bisulphide of carbon 
with 1 part turpentine and add 
enough gutta-percha to make as 
treacle. Lay a cloth on the pieces 
of leather to be joined and apply a 
hot iron for atime to remove the 
grease. The cement is applied to 
both pieces and pressure applied 
till the jointisdry. (3) Mix 6 parts 
asphalte, 5 parts resin and 20 parts 


Place ina bottle and stand it in 
boiling water for a few hours until 
the mass becomes thick. Then stir 
in 75 parts bisulphide of carbon 
and leave it to stand for several 
days, shaking it up now and again. 
Roughen the surfaces of the leather, 
apply the cement and let it dry 
under pressure. (4) Dissolve gutta- 
percha in chloroform or carbon bi- 
sulphide; spread it over the sur- 
faces of the leather and let it dry. 
Then hold near a fire till softened 
and tacky, and join together. 
(5) Dissolve fine shreds of india- 
rubber in copal varnish. This 
cement is waterproof. 

CEMENT: MARBLE. (1) Cut 
clean flat surfaces on the marble, 
and join with Roman cement. (2) 
Melt together 8 parts resin, 1 part 
beeswax and 4 parts plaster of 
Paris, and apply immediately. To 
fill up gaping cracks, mix 1 part 
resin and 8 parts beeswax with 
powdered marble; press it into the 
cracks and then rub in powdered 
marble from the outside. (3) Sift 
plaster of Paris through muslin and 
mix with shellac dissolved in alcohol 
or naphtha. [See VARNISH (SHEL- 
LAC)] Apply quickly, wiping away 
the cement from the edges as it is 
squeezed out. [See also CEMENT 
(Mosaic)] 

CEMENT: METAL. Before 
cementing metals to other materials 
apply nitric or some suitable acid 
to make itrough. Then wash with 
clean water, To fill up holes and 
cracks in metal, stir 2 oz. best chalk 
and 3 oz. fine metal powder in 10 
oz. silicate of soda (33° strength). 
Knead it to a putty and press it in, 
and in 24 hrs. it will have set 
sufficiently to allow burnishing, and 
it will then have the appearance 
of the metal from which the powder 
was made. [See also CEMENT 
(IRON)] 

CEMENT: MOSAIC. (1) Mix 
4 parts purified chalk with 1 part 


44 


thick solution of silicate of soda. 
(2) Add the white of 5 eggs to 1 qt. 
milk and stir in quicklime to form 
a paste. Both the cements set 
very hard, and they may then be 
polished. 

CEMENT: PORTLAND, 
HOWTO TEST. Portland cement 
should not weigh less than 110 Ib. 
per bushel, and 92 per cent. should 
pass through a 2000 mesh sieve. It 
should have a tensile strength of 
200 Ib. per sq. in. after 7 days 
immersion in water. 

CEMENT PUTTY. For 
moulding and joiners’ work. (1) 
Mix 1 part curds of milk and 1 part 
lime. (2) Mix 1 part cheese, 1 part 
lime and milk or water to bring to 
the right consistency. (3) Mix 1 
part slaked lime with 2 parts rye 
flour and linseed oil to form a putty. 

CEMENT: RUBBER. (1) For 
cementing rubber to rubber, cut 1 
cub. in. of pure Para rubber into fine 
shreds ; place it in a wide-mouthed 
air-tight bottle, andadd 1 pt. benzine 
or solvent naphtha. The rubber 
takes about three days to dissolve, 
and it should be shaken up in the 
bottle now and again during that 
time. The resulting liquid should 
be as honey. Apply the cement to 
both surfaces, leave it exposed to 
the air a few minutes till it becomes 
“tacky,” and then bind the two 
pieces of rubber firmly together. (2) 
To join rubber to metal, glass, etc., 
place 1 oz. powdered shellac in 10 
oz. strong ammonia. Shake up 
now and again, and in three or 
four weeks the shellac will be dis- 
solved. 

CEMENT : SHELL. fi) Dis- 
solve gum-tragacanth and powdered 
alum till as thick as syrup, and to 
each teacupful add 4 teaspoonful 
sugar of lead, and then plaster of 
Paris to bring up to the consistency 
of putty. (2) Mix gelatine and water 
to the consistency of syrup; then 
add plaster of Paris till very thick, 
and use immediately. 


CEMENT 


CEMENT: SPIRIT-PROOF. 
Mix 2 parts manganese powder 
with 1 part soluble silicate of soda. 
Apply freely, and then coat with a 
solution of asphalt in turpentine 
or petroleum. This cement is useful 
for sealing bottles containing pre- 
served animal specimens in spirits 
of wine. 

CEMENT: STONE. (1) Mix 2 
parts powdered glass and 2 parts 
litharge with 1 part linseed oil 
varnish. This cement is water- and 
acid-proof, (2) Melt 7 parts resin, 
1 part beeswax and a little plaster 
of Paris. (3) Mix red-lead, white- 
lead and litharge, and then mix 
with linseed oil. To dry quickly, 
use larger proportions of red-lead 
and litharge; to obtain greater 
strength, use more white-lead. To 
apply, place thin sheets of cloth 
on the joints dressed with cement. 
This cement should be allowed 
about a month to dry; but it will 
then resist boiling water. (4) Mix 
2 parts sifted beechwood ash with 
1 part glue. This cement is good 
for uniting stone to wood. (5) Melt 
2 oz. glue with 1 oz. resin and 
enough ochre to give it body. This 
cement is useful for cementing 
stone to wood. [See also CEMENT 
(Mosaic) and (MARBLE)] 

CEMENT: SURGICAL. Mix 
8 parts gin cotton with 125 parts 
ether and 8 parts alcohol ; then add 
4 parts Venetian turpentine and 2 
parts castor oil. For a varnish to 
be applied to the skin, add a little 


glycerine. 
CEMENT: TORTOISE- 
SHELL. (1) File the tortoise- 


shell clean to a lap joint; wet 
the joint with water, and squeeze 
all along the joint with hot pincers, 
following them with water. The 
pincers should be 4 in. long in the 
jaw. (2) Dissolve 1 part gum-arabic 
and 4 parts sugar-candy in water, 
and then mix with 2 parts liquid 
glue. This cement is also useful 
for uniting bone and ivory. 


CEMENT—CHAIR 


CEMENT: TREE. Melt 10 
parts pitch, then add 1 part 
turpentine, then 2 parts tallow, 
and then 1 part methylated spirits. 
Bind the fracture, and leave the 
cement to set. This is useful for 
cementing up broken branches and 
bark on trees. 

CEMENT: WATER-GLASS. 
Mix water-glass with powdered 
glass, and bind up firmly. This is 
useful for glass. Add oxide of zinc, 


45 


CHAIR: BARREL, Select a 
strong barrel well bound with iron 
hoops, and rivet the hoops to each 
plank. Mark out the shape as 
shown in the illustration, and cut 
out with a key-hole saw. Nail a 
couple of cleats on the inside, and 
rest the head of the barrel on them 
to form the seat. Let in two planks 
at the bottom to make a steady 
base, and nail them there, as shown. 
Coarse canvas should be tacked 


whiting, calcined bone or plaster 
of Paris to a putty for china. 

CEMENT: WATERPROOF. 
(1) Mix Portland cement or hy- 
draulic cement to a cream, and 
apply immediately. (2) Thoroughly 
mix 2 parts quicklime, 3 parts sharp 
sand, 4 parts ochre, 4 parts brick 
dust and 1 part very fine cast-iron 
filings. Mix with water to a thick 
paste just before use. [See also GLUE 
(MARINE); and CEMENT (AQUARIUM) 
(Cask) (AciID-PROOF) etc.] 


loosely on, and filled with horse 
hair, and a cushion made of the 
same materials. The whole should 
then be covered with some suitable 
material, such as chintz, which may 
be folded into pleats, and button- 
stitched. 

CHAIR: GARDEN. Shorten 
the back legs of an old cane or 
Autrian chair, give three coats of 
green paint and then a coat of 
varnish. Ifthe seat has given way, 
take a piece of canvas, loop it over, 


46 


and sew firmly. Stretch it tightly 
in place, and temporarily tack down 
the three remaining sides, and then 
sew as for the first side. Another 
way is to nail the canvas on with 
brass-headed nails all round the 
edge, but this is not so satisfactory 
as sewing. When the canvas is 
fixed in place, it should have two 
coats of thin white-lead paint. 

Rustic chairs made as shown in 
the illustration are also strong and 
useful. 

CHAMOIS LEATHER: HOW 
TO WASH. (1) Wet the leather 
with luke-warm soda _ water, 
squeeze it between the hands, lay 
it on a flat board, and apply soap 
freely to both sides. Leave it for 
half an hour, and then squeeze it 
between the hands again, opening 
and shutting the hands, but not 
rubbing the leather. Rinse in 
several cold waters, and if neces- 
sary soap again; hang it up to dry 
in front of a fire, and when nearly 
dry, work it between the hands in 
front of the fire till dry. 

CHARCOAL. Make a conical 
pile of some sound hard wood; 
light it, and cover it with earth. 

CHESS- -BOARD: HOW TO 
MAKE. (1) Cut and plane up 
on a shoot-board five lengths 3 in. 
walnut or mahogany exactly 14 in. 
broad x about 13 in. long. Cut 
and plane up four lengths of birch 


Fia. 1. 
or some hard white wood to the 


same dimensions. Glue them to- 
gether as shown in Fig. 1, which 
will form a board 13 in. x 13% in, 
x 4in. When dry, cut across the 
original strips, forming eight new 


CHAMOIS LEATHER—CHIMNEY 


strips made up of nine I} in. squares, 
the final size of each strip after 
planing on the shoot-board being 
1d in. x 134 in. Now glue together 
as shown in Fig. 2, and when dry 
cut off the projecting walnut pieces, 
leaving a 12 in. square containing 
sixty-four 14in. squares. This may 
now be inlaid ina table, planed and 
polished ; or if a separate board be 
desired, glue on 2 in. white wood 
strips, mitred at the corners, fora 
margin; then a piece of 3 in. 
mahogany over all at the back; and 
then a4 in. beading of mahogany 
round the edges, and finally screw 
on two pieces of 2 in. mahogany 
across, and with their grain at right 


RE 


Ay, eA ELM 


Fia. 2, 


angles to the back, to prevent war- 
ping. (2) Cuta piece of plate glass 
15 in. x 15 in., and grind the edges 
smooth with emery powder and tur- 
pentine. Mark off lines 14 in. from 
each edge, thus leaving a square 
12in. x 12in. inthe middle. Divide 
this square into sixty-four small 
squares, each 14 in. x 14 in., by 
marking off eight divisions on each 
side 14 in. long, and joining across to 
the opposite side. Paint the alter- 
nate squares black, and then fill up 
the intermediate ones in red or 
yellow. Paint the edges, which are 
13 in. broad, with some suitable 
colour, and let it into a frame or 
table, painted side downwards. 

CHININEY : CORRECT SIZE 
OF. For every fire the size should 
be at least 80 sq. in. Any 
shape may be adopted, but above 
the roof it is best to have it twice 
as broad as it is deep, 7.¢., for one 
fire 64 x 13 in. inside, 


3 CHIMNEY—CIDER 


CHININEY: HOW TO LOOK 
UP. Deflect a ray of the sun up 
the chimney with a mirror. 

CHIMNEY : HOW TO PRE- 
VENT A SMOKING A 
chimney may smoke from the 
following causes (a) Is not tall 
enough; (b) The flue is clogged; 
(c) Openings up the shaft which 
destroy the draught; (d) narrowing 
of the flue at the top. (a) and (d) 
necessitate rebuilding; (c) May 
be remedied by closing all the 
regulators or dampers on the 
same shaft; or by fixing sheet iron 
or wire gauze over the fire so as to 
lengthen the flue, the bottom being 
about 12 in. above the top bar. 
For a stove, cut sheet iron and 
cement it over the grate, so that 
no air can pass up the flue without 
passing through the stove. 

CHINA: HOW TO MAKE 
IMITATION. Cut figures out of 
paper, but leave no white paper 
round the edges. Paste them on 
to the inside of the glass with thick 
gum-arabic water, and leave to 
dry for 24 hrs. Then clean well 
between the scraps with a damp 
cloth, and leave to dry for a few 
hours longer. (1) Mix white wax 
and flake white together, and paint 
the inside of the glass all over, 
covering the backs of the figures. 
(2) Boil isinglass to a jelly, and 
mix it with well-ground white lead, 
and apply as before. For a blue 
ground, use Prussian blue instead 
of white; for red, vermilion or 
carmine; for green, verdigris; for 
chocolate, burnt umber, etc. 

CHISELS. Engincer’s : To make 
a flat or cross-cut chisel heat 
the middle part of an old square file 
to a cherry red and draw it out to 
the required shape. When shaped, 
heat red hot and soften by placing 
it in sawdust. [See ANNEALING 
(Iron and Steel)| Then temper the 
point,straw tobrown. [See TEMPER- 
ING] Wood: These must have 
a shoulder forged. Select an old 


47 


flat file of the required size, heat the 
part just below the tang toa cherry 
red. Then plunge nearly all 
the blade of the file quickly in 
water, and then the tang, leaving 
a strip as thin as possible of red- 
hot metal just below the tang. 
Place the point of the file upright 
on an anvil, and strike the tang to 
swell out the hot metal a little. 
Repeat again and again till the 
shoulder formed is sufficient. Then 
soften [see ANNEALING (Ivon and 
Steel)] and file to shape. To 
temper, lay the bright chisel blade 
on a red-hot iron, and temper 
the bottom 2 or 3 in. dark straw. 
[See TEMPERING] To put on the 
handle, which should be made of 
hickory or ash with a metal ferrule 
at each end, heat the tang of the 
chisel only and burn .out a hole 
till the shoulder is about 4 in. away 
from the wood, and then drive the 
handle on. Nail two thicknesses 
of sole leather on the top of the 
handle to prevent the wood 
splitting when it is hammered. 
Ice: A good method is to forge a 
shoulder on an old 4 in. round file 
in the same way as for a wood- 
working chisel for the handle to 
butt against. Grind the end to a 
point, and then temper it to straw 
or brown. [Sce TEMPERING] 
CIDER. Pick the apples when 
ripe, and store them in bins for some 
time before using. Pick over the 
apples, and throw away all rotten 
ones as well as all foreign matter, 
After being ground, the pulp should 
be left at least 6 hrs. before 
pressing off the pomace. 
CIDER: HOW TO BOTTLE. 
Let the cider work a day or two, 
the cask being full so that the 
pomace may pass off at the bung- 
hole. Take a clean empty cask 
and put in 10 gals. cider. Thrust 
into the cask through the bung- 
hole an ignited rag sulphur match, 
and suspend it by a wire from the 
bung; after this has burnt out, 


48 


light another, and so on till three 
or four have been consumed. Then 
shake the cask violently. Pour the 
cider into the cask in which it is to 
be kept till it isfull, Bung the cask 
tight, and let it remain in the 
cellar till March, then draw off and 
bottle. Place the bottles on the 
bottom of the cellar and cover with 
sand, or place bottom up in a 
trench or between two planks. 
CIDER: HOW TO COLOUR. 
Crush blood-beets up with the 
cider, and when it is bottled add 
crushed horse-radish to it. 
CIDER: HOW TO KEEP. (1) 
Run the cider when two days old 
through a filter into a clean barrel; 
then bung up and leave for 24 hrs. 
Repeat the process, and if it then 
show signs of fermentation, repeat 
a third time. Be sure no pomace 
or sediment is left with the cider. 
(2) Place the barrel in a cellar and 
fill to overflowing. Keep the bung 
out, and as the cider ferments it 
will overflow. When the first 
fermentation ceases, draw the 
cider off into clean casks, and bung 
up air-tight. (3) Place the kettles 
over a fire, and bring to just under 
boiling-point. Skim it and fill the 
barrels to within 1 in. of the top 
and bung up perfectly air-tight. 
(4) Pour warm clear sperm or 
sweet oil into the barrel after a 
few gallons have been drawn off. 
(5) Let the cider ferment till it has 
attained a lively fermentation. Add 
to each gallon 4 oz. sulphite (not 
sulphate) of lime. To mix, draw off 
4 a bucketful of cider, add the 
quantity of sulphite of lime, mix 
thoroughly till as milk and then 
pour into the cask. Agitate 
thoroughly for a few minutes and 
then after a few days, when the 
cider is clear, draw it off and 
bottle it or return it to the cask 
after the sediment has been re- 
moved. If bottled it becomes 
sparkling. (6) Within 24 hrs. 
after the cider has been made, 


CIDER—CISTERN WELL 


put in each barrel 4 lb. ground 
mustard and 1 lb. pounded horse- 
radish. 

CISTERN FILTER. (1) Build 
up a wall of soft brick across the 
centre of the cistern, leaving it 
unplastered. It should be concave 
towards the inlet side, say 16 in. 
in 6 ft. Put the inlet from the 
eaves on one side, the pump suction 
on the other. The joints must be 
well cemented, and the separating 
wall must be carried higher than 
the overflow drain. (2) Build a 
partition wall across the cistern, 
leaving twice as much volume on 
one side as the other. Leave a 
number of 4 in. x 4in. holes in the 
bottom of the partition wall, and 
plaster with two coats. Fill the 
smaller or inlet side about 2 ft. 
deep with charcoal, the bottom of 
the larger or suction side with 
sand. 

CISTERN SCREEN. On the 
inlet side, where the water enters, 
make a detachable box of perforated 
zinc or wire gauze, to prevent 
leaves, etc., entering. It is best to 
make the water from the eaves 
fill up a small tub before entering 
the cistern, so that any dirt carried 
in suspension may settle in the 
tub, and only the clear water be 
carried off to the cistern. For this 
reason the outlet from the tub 
should be about 2 ft. from the 
bottom. 

CISTERN WELL. At either 
end of a board bore holes, the 
distance apart being equal to the 
radius of the proposed cistern. 
Stake to the earth through one 
hole, and describe a circle with the 
other. Cut down into the ground 
as square as possible, using a 
plumb-bob. If possible place a flat 
stone at the bottom, and brick up 
from this. Do not use soft bricks, 
but those made of good hard clay. 
Bricks can be readily tested with a 
hammer. Lay the bricks in Port- 
land cement, and plaster the inside 


CLAMP—CLOCK 


with 2 parts sharp sand to 1 part 
cement. Do not moisten till ready 
for use. If bricks cannot be ob- 
tained, make the sides as smooth as 
possible. Mix water and cement to 
the consistency of milk, and splash 
‘the wall with this, to form a crust, 
on which the cement given above 
may be plastered. The overflow 
drain, which should be at least 1 ft. 
below the level of the ground, 
should be made of bricks or tiles 
well cemented at the connections, 
and a guard of wire placed at each 
end to prevent mice and vermin 
entering. The drain should never 
be less than the capacity of the 
eave spouts. The well should 
always be kept covered with a 
stone and close-fitting planks of 
wood. [See also WELL (SHALLow)] 

CLAMP: GLUE. Cut from 3 
in. ash or similar tough wood board 
a piece 9 in. x 3in. 24 in. from 
either end saw half-way through, 
and split out the piece ; now make a 
few blocks 1 in. wide x 3 in. long 
of different thicknesses, and a few 


wedges 4 or 5 in. long. The job 
after being glued is slipped between 
the jaws, and then the blocks and 
wedges driven in to hold the pieces 
tightly together. Similar clamps 
of varying sizes should be made to 
suit the work in hand. 


49 


CLAMP: HARNESS. 
block of wood 6 in. x 6 
in., and bevel the two 
sides. Screw on two 
boards, as illustrated, 5 
in. wide x 30 in. long, 
and shaped so as to set 
close on the top. Oak 
barrel staves make good 
clamp sides. 

CLAY: MODEL- 
LING. Knead dry clay 
with glycerine, which prevents the - 
clay drying. 

CLOCK: HOW TO CLEAN 
AND REPAIR. Dip a feather 
into paraffin, and touch all pivots, 
and after afew hours repeat. Strew 
strong washing powder among the 
wheels, and plunge the works into 
a strong solution of the same in 
boiling water. Let it lie till the 
water is cool enough to place the 
hands in, then take it out, and 
wash thoroughly with soap and a 
tooth-brush. Rinse in warm water 
and put to dry before a fire. To 
take to pieces, touch watch oil to 
the pivots to loosen the dirt, and 
run the wheels. Tie the springs 
with strong cord, loosen the ratchet, 
and let down steadily by the key 
turning in the palm of the hand. 
Note carefully the positions of the 
wheels, and ifthe two largest wheels 
in the train are alike, scratch the 
strike side. Polish the pivots, and 
clean with a rag pressed well up 
against the shoulder. The pivot 
holes should be cleaned with a pine 
stick till they no longer blacken it. 
Put together and oil lightly. [See 
Oit (WatTcH)] A clock may often 
be cleaned by oiling the pivots, 
taking out the balance-wheel and 
movement, and letting the wheels 
fly roundtwoorthreetimes. Then 
wipe the pivot holes as clean as 
possible, and replace the balance- 
wheel and movement. 

CLOCK : HOW TOLEVEL. Ad- 
just by putting bottle corks behind 
to bring forward, and thin strips 


Cut a 


m~, 


50 


of wood and paper underneath to 
set square sideways. A good clock 
has a dial under the pendulum, 
and the pendulum should point to 
O when not in motion. If there be 
no dial, set till the door in front 
stays as readily in one position as 
another. The door must work 
easily on its hinges. : 

CLOTH: HOW TO CLEAN. 
Mix 1 oz. well-pulverised pipe-clay 
with 12 drops alcohol and 12 
drops turpentine. Moisten a little 
of this mixture with alcohol, and 
rub it on the spots. When dry, 
rub the pipe-clay off with a woollen 
cloth. If the cloth be red, adda 
little citric acid or lemon juice. 

CLOTH: HOW TO PUT NAP 
ON. Soak the cloth in cold water 
for 4 hr., put it on a board, and rub 
the threadbare parts with a half- 
worn hatter’s card, filled with 
flocks, or with teazles, until the nap 
is raised. Hang up to dry, and 
with a hard brush smooth the nap 
the right way. 

CLOTH SIZING. Dissolve a 
little india-rubber in boiling oil or 
turpentine, and add a little of this 
to thin paste while both are hot. 

CLOTHES: HOWTO CLEAN. 
(1) Whip the clothes with a light 
whip, and brush. Remove spots 
with ammonia water, and reduce 
the shine with equal parts alcohol 
and water. Boil 2 oz. tobacco in 
4 gal. water and while hot dip a stiff 
brush into it, and rub the clothes 
in all directions. When the liquid 
has penetrated thoroughly into the 
cloth, brush with the nap, and 
hang up to dry. When dry, no 
smell of tobacco will remain. (2) 
Clean and remove any spots as in 
No.1. Steep logwood chips in boil- 
ing water till very strong; then 
drain, and add 2 oz. powdered gum- 
arabic. Rub this liquor gently 
over the cloth, and hang up to dry, 
and then brush in the direction of 
the nap. If the clothes be of a 
very light material, the logwood 


CLOTH—CLOTHES-HORSE 


may have to be diluted. To clean 
the collar, break up about 3 sq. in. 
of soap tree bark very small, and 
pour 4 pint boiling water over it. 
Let it stand for a few hours; then 
apply with a sponge, and then 
sponge down with clean warm 
water, Let the collar be towards 
the left hand, and brush with the 
right, for this is the way the nap 
lies. Brush the back of the collar 
first, between the shoulders next, 
then the sleeves, next the inside 
and lastly the collar. Ifthe elbows 
or knees are baggy, lay a damp 
cloth on them, fold the clothes up, 
and let them remain so an hour. 
Then lay them out flat, and pull 
gently in all directions till the 
swelling is removed. Then press 
the garments on the wrong side, 
finishing those places first. 
CLOTHES-HORSE. Cut off 
and plane six pieces of deal 1 in. 
sq. x 5ft. long; also twelve pieces 
4 in. sq. x 2 ft.6in. long. Cham- 
fer the corners of the 4 in. rods, 
and very slightly taper the ends 


Measure off a distance from one 
end of the 1 in. rods ‘1 in. down, 
then 14 in below this, then 14 in. 
twice more. This last mark should 
be 17 in. from the bottom. Witha 


COINS—COOLER 


4 in. bit bore holes almost through, 
and then fit the 4 in. rods into 
these holes. When fitting, cut a 
groove in the rod all along the part 
that will be in the hole, to allow 
the air to escape when it is being 
driven in, or the upright will split. 
To fit, drive the rod into the hole 
fairly hard; twist it round, and 
where it is marked, take off a little. 
When fitted right up, put a corre- 
sponding mark On the upright and 
rod, and take out; do the same to 
each rod, and fit all together before 
gluing; then take one upright 
down, glue the projecting rods, and 
hammer all in place. Do the same 
with the others. There will now 
be three frames, which must be 
hinged together, and put on castors 
as shown in the illustration. Sink 
the hinges into the wood, so that 
they lie flush. 

COINS: IMPRESSIONS OF. 
Melt isinglass glue with brandy, 
and pour thinly over the metal. 
Let it remain for a day or two till 
hard and dry, and then remove. 
[See also ELECTRO-PLATE] 

COLLAR: HORSE. Get a 
collar well adapted to the neck 
and shoulders, damp the inside till 
the leather is wet through, and 
while wet put the horse to work 
in it. 

CONCRETE: CEMENT. The 
sand mixed with the cement must 
be perfectly sharp and clean. To 
wash, place the sand in running 
water, and stir with a stick till all 
earthy matter has been removed ; 
then take out and dry. For ordi- 
nary out-door work, dig down about 
7 in. and drive in stakes about 1 yd. 
apart, and projecting 6 in. up, to 
serve for guides. Then fillin rough 
concrete, and beat down level with 
the stakes, and then lay 1 in. of 
good cement on the top. For 
paths, etc., 3 or 4 in. concrete with 
1 in. cement on top, will be suffi- 
cient. When the concrete is in 
position it should be rammed down, 


51 


which process will strengthen it by 
from 10 per cent to 30 per cent. 
Concrete should not be made more 
than an hour before it is placed in 
position, and rammed down, and if 
possible it should be laid in cool 
damp weather. Ordinary concrete 
weighs about 120 Ib. per cubic 
foot. (1) For rough out-door work, 
break up bricks to pass through a 
2 in. sieve. Mix 4 parts broken 
bricks, 2 parts clean sharp sand, 
and 2 parts Portland cement. Lay 
this concrete 6 in, deep, and finish 
off with 1 in. pure cement. (2) For 
gravel walks, mix 15 bushels clean 
gravel, 3 to 5 bushels clean sharp 
sand, and 1 to 2 bushelslime. The 
coarser and dirtier the sand, the 
more lime must be used. (3) For 
the floors of stables, etc., mix 1 
bag cement to 3 cub. yd. of gravel, 
which should be clean, and contain 
sand and small stones. 
CONCRETE: TAR. Heat 12 
gal. gas tar, and mix 28 Ib. pitch in 
it, then pour it over 1 cub. yd. of 
gravel (the largest stone to pass 
through al in. mesh) or granite, 
and clean sharp sand. Shovel 
quickly over and over till thoroughly 
mixed, and then place in position, 
and roll or ram down 1 to 2 in. 
thick. Next make a concrete of 
tar, pitch and fine sand only, in 
the same proportions as_ before, 
and lay it down on the top from 4 
to lin. thick. Then scatter Derby- 
shire spar or sand on the top, and 
roll thoroughly. To make the con- 
crete harden more quickly, 4 bushel 
brick dust or powered chalk, or 
cinders may be added per cubic yard. 
COOLER: PROVISION. In- 
vert an ordinary red flower-pot in 
a soup-plate filled with water. 
Drive a cork into the hole at the 
top, and cover with a flannel cut 
and sewn to shape, which has been 
previously soaked in water, and ~ 
wrung out fairly dry. The edge of 
the flannel must be under water, 
as shown in the illustration. The 


52 


provisions to be kept cool should 
be placed in a saucer, or supported 
in some way above the water, and 
under the flower-pot. A biscuit tin 
will make a larger cooler, which 
should be inverted, covered with 
flannel, and stood in the top of a 
larger tin lid in the same way as 
the flower-pot. A large safe may 
be made up of tin plates, with doors 
and shelves, and covered with 
flannel or serge, a flap being left 
in the flannel to open the doors. 


If the cooler be more than 8 or 9 
in. high, water must drip on it 
from above. A basin of water witha 
syphon made of string, so that one 
end of the string rests in the basin 
and the other end on the flannel 
will work admirably. The size the 
string should be depends on its 
texture, and on the size of the 
flannel to be kept wet, but for 
ordinary use, a syphon which will 
empty the basin in twelve hours 
will be found sufficient. 

COOP: EARLY CHICKEN, 
Fit a window-sash into the front 
of a large dry box, and leavé a space 
of 4or 5 in. at the top for ventila- 
tion. Let it slope 5 or 6 in. back- 
wards to the roof. About 1 ft. of 
the rear end should be partitioned 
off, in which to feed the chicks. 
Place the entrance at the side, and 
keep dry and cool. This makes a 
good coop for early chickens, and 
in time, when the sash is no longer 
needed, it may be removed and 
slats substituted for it. 

COOP: HEN. Make an end-peice 
of # in. deal 2 ft. long at the bottom 
x 2 ft. high, terminating at a point. 


COOP 


Nail on to the two slanting sides of 
this end-piece two boards 1} in. x 
lin. For the front use three pieces 
of deal 1 in. x 2 in., mitred and 
strengthened at the corners. The 
bottom will be 2 ft. long, the sides 
about 2 ft. 22 in. To get the exact 
size, measure the length of the 
sides of the end piece. Put on gin. 
deal 3 ft. 4 in. long for the sides, the 
top course of board overlapping the 


next about 3 in.tolin. Leave 2in. 
projecting over each end for eaves. 
To finish, dress out some 34 in. 
sticks 14 in. wide, and put these 
up and down 1} in. apart. Leave 
an open space 10 in. wide at the 
centre, and to this fit a sliding door 
to work between two cleats, as 
shown. The centre stick should 
be 3 in. higher than the top of the 


coop, and a cross-piece screwed to 
it to work the door by. Cover the 
outside with waterproof tar-wash 
[see WaSH (TREE)] and the inside 
with white-wash. An illustratiow 
is also given of a coop made in 
rustic work, which may be used 
for the same purpose. - It is not, 
however, recommended, except for 
appearance, as the holes and 
crannies harbour insects. 


COPPER—CORN-BINDER 


COPPER: HOW TO CLEAN. 
If the copper or brass be greasy, 
first dip it in a strong solution of 
potash and soda in warm water. 
{1) Rub over the metal with rotten 
stone, or emery powder mixed with 
sweet oil; then rub it off and polish 
with a dry chamois leather. (2) 
Heat to redness and plunge into 
methylated spirits or glycerine. 
(3) Rub a solution of oxalic acid 
over the copper with a cotton rag ; 
then wash the acid off, and polish 
with whiting powder, and a chamois 
leather. This method is suitable 
for badly tarnished metal. (4) 
Steep the metal for a few seconds 
in a strong solution of hydrochloric 
or nitric acid; then rinse in water, 
and clean with whiting. (5) Heat 
the article over charcoal, and rub 
it with sal-ammoniac moistened 
with saliva; then rub dry with 
whiting and bran. (6) Boil 1 oz. 
roche alum in 1 pt. strong lye, and 
wash the article with this liquid, 
then polish with whiting or fine 
tripoli. (7) Mix 1 part aqua-fortis 
and 6 parts hydrochloric acid 
with 2 parts water, and immerse 
the metal for from 10 to 30 mins. 
The article will then be covered 
with a black mud which must be re- 
moved by rinsing—the metal being 
finally dried in hot, dry sawdust. 

COPPER PIPES: HOW TO 
BEND. Fill the pipes with molten 
lead or pitch, and when cold bend 
to the required shape; then melt 
out the lead or pitch. Pipes filled 
with lead are easiest to bend, but 
lead is not as easily melted out as 
_ pitch. 

COPPER-PLATING. To give 
the metal a light coat of copper, 
first clean it and then immerse it 
in a solution of sulphate of copper ; 
or paint the surface with the copper 
sulphate solution, and then touch 
it with steel wire. To coat more 
thickly immerse the metal with the 
thin copper coat in molten copper. 
This latter method is not very 


53 


satisfactory—electro-plating being 
far better. [See also ELECTRO- 
PLATE (COPPER)] 

CORAL: ARTIFICIAL. Grind 
fine white shells or egg-shells to 
an impalpable dust, and then mix 
to a putty with gum, a little gly- 
cerine, vermilion and water. If 
this putty be dried under pressure, 
the resulting material will be ex- 
ceedingly strong and hard. 

CORK: HOW TO REMOVE. 
To remove a cork from the inside of 
a bottle, double a string, and drop 
the loop end down the neck; turn 
the bottle upside down, and when 
the cork falls in the loop, it may 
readily be drawn out. 

CORK: HOW TO SOFTEN. 
Steam the sheet of cork in the same 
way as wood [see Woop (How To 
STEAM)], or boil it in water for a 
few hours. 

CORK-SCREW: IM PRO- 
VISED. Insert from opposite 
directions the prongs of two forks. 
Slip a knife between the prongs, 
turn round, and pull out the cork. 

CORK: WATER-TIGHT. Im- 
merse the cork for about 5 mins. in 
melted paraffin wax till all the pores 
are filled. The corks must be held 
down by a perforated screen or 
similar device. Corks thus pre- 
pared make an air and water-tight 
stopper, which may at all times be 
readily removed, and are useful for 
fishing floats, etc. 

CORN-BINDER. Cuta taper- 
ing shaft 3 ft. 6 in. long, and to the 
thick end attach a wood crank and 
handle. Cut a piece of wood 8 in. 
long, bore a hole in the middle, 
large enough for the shaft to rotate 
in easily, and drive a staple into 
each end, Attach a cord to the 
crank, pass it through one staple 
on the cross-piece, and attach a 
hook to the other end of the cord. 
When a sufficient number of stalks 
have been collected to form a shock, 
plunge the shaft through it at the 
height it is desired to have a band. 


54 


Ao assistant now takes the hook on 
the end of the cord, passes round 
the shock, and hooks it on to the 
free staple on the cross-piece. If 
the crank be now turned round, the 
cord will twist round the shaft, and 
when it grips the shock tightly, a 
band of straw can be withed around, 
and the rope loosed ready for the 
next. 

CORN-JACK. Cut a pole 10 
to 12 ft. long, and fix two legs near 
one end. Bore a 1} in. hole 
horizontally through the pole 4 ft. 
back from the legs. Place the 
jack where the shock is to be built ; 
insert a rake handle, or a similar 
rod, about 6 ft. long, through the 
hole, and set up the corn round it. 
When the shock is complete, pull 
out the stick, and then by taking 
hold of the legs, the jack may be 
withdrawn, and placed ready for 
the next. 

CORNUCOPIA. Ifit be desired 
to carve the horn, immerse it ina 
solution of caustic soda or potash. 
(See BONE (How TO BEND)] When 
soft enough, take it out, and wash. 
Then cut the design, dry, and, if 
desired, stain. [See Stain (HORN)] 
Instead of carving the horn, it may 
be etched in the same way as shells 
[see SHELL (How To Etcx)], and in 
that case it need not be softened 
first. Drive in two picture-frame 
screws, and attach a ribbon of a 
similar colour to the horn, to sus- 
pend it by. The hollow end should 
be finished by a piece of silk or 
satin fastened to the horn with 
glue or strong mucilage, and a 
ribbon passed in and out, to gather 
the material up. 

COTTON: HOW TO CLEAN. 
To remove mildew spots from 
cotton, dissolve 14 oz. chloride of 
lime in 1 qt. boiling water, and 
then strain. Soak the stained 
parts in this liquid, and then im- 
merse them in clean water. 

COTTON PRINTS: HOW TO 
CLEAN. Mix vinegar with the 


CORN-JACK—CRANE 


rinsing water for pink or green; 
soda for purple or blue goods. To 
preserve the colour of blue goods, 
dissolve 1 oz. sugar of lead ina 
pail of water, and soak the fabric 
in this for 2 hrs. Let it dry before 
washing it. For ordinary prints 
(a) mix 1 teaspoonful of ox gall in 1 
gal. water, and soak the fabrics in 
it for a few hours before washing. 
(b) Boil a double handful of bran in 
1 qt. water; strain, and throw it 
into the water in which the dresses 
are soaking, and leave for 1 hr. 
For French linens, soak in a strong 
tea of hay before washing. For 
black goods, immerse in a solution 
of 1 teacupful of lye toa pailful of 
water. To starch, use thin glue, 
and iron on the wrong side. 

COUNTERSINK. Soften 
an old three-cornered file [see 
ANNEALING (Iron and Steel)}, and 
grind or file the tang to fit a bit- 
stock. Break off 1 or 2 in. from 


the end, and file to a diamond shape, 


as shown in the illustration. Then 
temper straw [see TEMPERING], and 
grind to a sharp edge. 

COVERS: HOW TO CLEAN 
FURNITURE-. Without removing 
the covers, wash over with a 
flannel, and before they get dry 
sponge over with strong salt water, 
to every gal. of which 1 teaspoonful 
of ox gall has been added. Open 
the windows to dry. 

CRANE: PORTABLE FARM. 
A portable crane can be made, as 
shown by the illustration, in any 
size. The standard rests on cross- 
pieces halved together, or on a 
square piece of 2 in. plank braced 
with iron or wood. The top of the 
post should contain an iron pin, 
which presses on hoop-iron let into 
the lever; or a hollow metal tube 
may be let into the lever, the pin 
passing through the tube being 


CRAPE—CYCLE SPOKES 


fixed on tothe standard. The lever 
must be bound on both sides of the 
tube to prevent it splitting. Aniron 


hook is fastened to the short end of 
thelever. The lever may be tapered 
from the pivot towards both ends. 
CRAPE: HOW TO CLEAN. 
Wind the crape on a board, and 
steam it over boiling potatoes. 
CURVES: HOW TO DRAW. 
Cut a strip of pewter about ,; in. 
thick x Zin. wide, and the length 
of the longest curverequired. Dress 
straight with a file, and smooth 


with emery cloth. Draw the metal 
between the fingers, or over the 
thumb, till the required curve is 
obtained. For sharper curves use 
a lighter strip. 

CYCLE CHAINS. If an open 
chain of a cycle creak whilst run- 
ning, immerse it in paraffin, and 
after it has been thoroughly soaked, 
work it about till all the grit is 
loose, and then wash again in 
paraffin. Hang the chain up to 
drip and drain for a few hours, and 
then immerse it in melted goose 
grease or tallow for about an hour, 
working the joints now and again 
to allow the grease to thoroughly 
penetrate. Then allow it to cool, 
and when cold rub off the grease 
from the outside and apply graphite 
freely. 


55 


CYCLE: HOW TO CLEAN. 
Support the cycle so that both 
wheels may be rotated, and then 
squirt paraffin oil into all the bear- 
ings. Tilt the machine over towards 
one side, and rotate the wheels; 
keep on squirting in paraffin, and 
rotating the wheels till the paraffin 
runs out quite clear, when the 
bearings will be clean. Tilt the 
machine over to the other side, and 
clean the opposite bearings in the 
same way. Then oil up with oil of 
a good body, and rotate the wheels 
a little to work it in all over. The 
bearings need very rarely be taken 
apart. To prevent grit getting into 
the bearings in wet weather, tie 
wash leather strips or wool round 
the spindles at the sides of the 
bearings. Mud should, properly 
speaking, never be allowed to dry 
on the enamel; mud dried on 
should be first made soft with a 
sponge, and then dabbed, not 
rubbed, off. 

CYCLE SADDLES: HOW TO 
SOFTEN. Tostop saddles creak- 
ing, or to soften them, rub soft 
soap on the under side of the 
leather Occasionally. A drop of 
oil placed on each spring where 
the wire crosses on itself, will often 
stop squeaking that is wrongly 
believed to be the leather. 

CYCLE SPOKES: BROKEN. 
If a spoke be broken, it should be 
repaired immediately. When a 
new spoke cannot be obtained, bend 
the broken end of the spoke in the 
rim to a hook. Tie a piece of cord 
or wire in a loop round the hub, 
and pass the ends through the hole 
in the flange through which the 
spoke passed, if it be large enough. 
Tie the twe ends of the cord to the 
hook in the rim; pass a piece of 
stick between them, and twist it 
round and round, thus tightening 
the cords, but care must be taken 
to twist it so that the strands 
of each cord are tightened—not 
loosened. When tight enough, 


56 


bind the wood to the next spoke 
to prevent it untwisting. 

CYCLE WHEEL: HOW TO 
MAKE A TRUE. If a wheel 
be buckled, it can often be made 
fairly true, true enough to ride 
home on, by taking it out of the 
forks and placing it flat on the 
ground; then standing on the rim 
with one foot on each of the two 
high portions, and pulling the two 
low portions with the hands. The 
rim will then often spring back 
almost true. To fit a new rim, put 
in four spokes on one side equi- 
distant apart, and four spokes on 
the other side as near opposite the 
first four as possible. Place the 
wheel in the forks and rotate it, 
holding a piece of chalk above the 
centre of the rim. Where the 
chalk touches the rim, slack out 
the nipples and take up the slack 
with the nipples diametrically op- 
posite. When the rim is suspended 
very nearly concentrically with the 
spindle, put the other spokes in, 
and tighten all up together gradu- 
ally. Then mark with the chalk 
at the sides as well as the top of 
the rim, and slack out a spoke or 
two on the side that the chalk 


CYCLE WHEEL—DELAINES 


be at the same tension, and if all 
of them be of the same gauge, this 
may be roughly tested by tapping 
them, when they should all emit 
the same sound. Avoid “dishing ”’ 
the wheel, i.¢., pulling the rim as a 
whole more to one side than to the 
other. This may occur even when 
tested with the chalk. If the 
frame be made by a good firm, 
and the rim be in the centre of the 
forks, it may be taken that it is not 
dished. To test, hold a piece of 
twine diagonally through the wheel, 
when it should pass over the centre 
of the hub (the oil-hole is usually 
in the centre). Ifit does not pass 
over the centre, slack out all the 
spokes the same amount on one 
side, and tighten up the same 
amount on the other, thus bringing 
the rim bodily over. 


DART. Make as for an arrow 
[see ARROWS], only feather heavier, 
and on two sides only. Point the 
end with a head not more than 1 
in. long, and cut a notch at the 
balancing point inclined towards 
the head. Take a stick a little 
shorter than the dart, and tie on 
it a string 8 or 9 in. long with 


ae 


mark is, and take up the slack by 
tightening corresponding spokes 
in between, coming from the other 
side of the hub, thus pulling the 
rim over to that side. Continue 
gradually getting the wheel true 
concentrically and sideways. Do 
not turn any nipple more than } to 
4 turn without spinning the wheel 
round, and testing with the chalk 
to see how it runs. If any small 
flats be noticed, let out the spokes 
slightly in the middle of the flat, 
and tighten those at the ends of it. 
When finished each spoke should 


ja knot at the free end. Place 
the knot in the notch, hold the 
dart in the left and the stick in 
the right hand, and throw. The 
stick and notch may be dispensed 
with by giving the string one twist 
round the dart near the base of the 
feathers, and then holding the 
string and the dart near the head. 
Throw in the ordinary way, and 
retain the string in the hand. 
DELAINES: HOW TOWASH. 
Mix lukewarm water with white 
soap toa lather, empty it into the 
washing tub, and add 1 tablespoon- 


? 


DISINFECT CELLARS—DOOR BOLTS 


ful ox gall. Wash the delaines 
in the suds as quickly as possible, 
but do not soap them; then rinse 
in a tub of cold water with 1 table- 
spoonful ox gall added; and then 
in two more rinsing waters with 
1 teaspoonful of vinegar in each. 
Hang out to dry in the sun, and 
when nearly dry, iron. If the 
delaines be allowed to freeze when 
wet, the colours will be ruined. 

DISINFECT CELLARS: HOW 
TO. Sprinkle pulverised copperas, 
chloride of lime, or common lime 
on the ground of a damp, musty 
cellar. For decaying vegetable 
matter, dissolve 1 lb. chloride of 
lime in 2 qts. water,and apply. As 
an absorbent, mix 1 part plaster of 
Paris .to 3 parts charcoal, and 
sprinkle freely. 

DISINFECT DRAINS, 
SINKS, ETC.: HOWTO. Flush 
the system thoroughly with one of 
the following liquids: (1) Dissolve 
t lb. copperas in 1 gal. water. (2) 
Dissolve 1 lb. chloride of lime in 2 
gals. water. (3) Dissolve 1 bushel of 
salt in a barrel of water, and then 
slake lime with it, till as a thin 
wash. 

DISTEMPERING. Mix best 
white Spanish whiting with water 
to cream, and set it away for 12 
hrs. Then pour off the clear liquid, 
grind up a little lampblack and 
add it to the whiting. Warm up 
1 qt. double size, strain, and mix 
6 lb. of the prepared whiting with 
it. If any pigments are to be 
added, grind them up very fine 
and add them to the whiting. 
When mixed, set away to cool, 
when it should form into a jelly. 
Water may be added to it before 
use, but the thicker the jelly the 
better, if expense be disregarded. 
The size usually employed is only 
glue, double size being of extra 
strength, though parchment size 
is sometimes used. Distemper 
changes colour on drying, and it 


57 


- 


piece of paper and dried in front 
of a fire to test. The amount 
required for the job should be 
mixed at one time, as it is almost 
impossible to match the tint after- 
wards. To check absorption by 
the walls, add 1 oz. alum and 1 oz. 
soft soap to the 6 ib. whiting. 
This is often known as “clear cole”’. 
14 lb. jelly will be required for 
every 10 sq. yds. super. Before 
applying rub down the wall or 
ceiling with sand-paper, and then 
brush away all dust. Close the 
windows and doors, and apply the 
distemper as quickly, but thor- 
oughly, as possible. When all is 
finished, open the windows and 
doors to create a good draught to 
dry all together. 

DITCHES. Where much water 
has to be carried off, open ditches 
are preferable to drains. Dig the 
ditch at the lowest portion of the 
tract, with a few wing sluices to 
wet places, and connect it to a 
pond, if possible. In clayey soil 
the sides of the ditch may be made 
nearly perpendicular; in sandy soils 
the pitch is often not less than 1 in 
3. If the soil be loose, shovel some 
into a heap, and note the slant of 
the sides. Make the sides of the 
ditch of the same angle. [See also 
DRAINAGE (LAND)] 

DOOR BOLTS. (1) Fig. 1 (A) 
is a lever pivoted, and attached to 


Fic. 8, 


the door at (F). At equal distances 


should therefore be applied to a/| from (F) two arms (F) and (C) are 


58 


pivoted at (D) and (E). Now when 
the handle at the end of (A) is 
raised, the arm or bolt (B) is raised, 
and the arm or bolt (C) is lowered. 
Two guides or staples are attached 
to the door to guide the arms into 
their slots for locking. The staple 
should be placed as near as possible 
to the slots for the bolts to lock in, 
but not so near that the bolts (B) 
and (C) will drop out when the door 
is unlocked. Make the lever (A) of 
hard wood about 13 in. thick, and 
pivot it to the door with a 4 in. bolt; 
the arms (B) and (C) are of 4 in. iron, 
knocked out at the ends, and pivoted 
to (A) with 4 in. bolts. The slots 


FIG. 2. 


Fic. 3. 


for the bolts to lock in can be 
hollowed out of the wood at the 


top and bottom of the door. (2) 
Bend a piece of 4 in. iron as shown 
in Fig. 2, and weld a piece at the 
centre for a handle. Bend the two 
semicircles at (a) (a) and (bd) (b) at 
right angles away from the paper, 
so that they will be as shown in Fig. 
3. Knock three staples into the door 
as shown in Fig. 3, and drive pieces 
of 4 in. iron into the wood on top 
and bottom of the door-frame for 
locking pins. To close, twist the 
handle round, and thus enclose the 
pins in the loops at the ends of the 
rod. Ifthe door be double, attach 


DOOR (CATCH)—DOUBLE-TREE 


the bolts to the half which over- 
laps the other. 

DOOR: CATCH FOR BARN-. 
Cut a piece of board as illustrated 
5in. long x 24 inch. wide and screw 
it on to the floor 
where the door is 
to be held. For 
keeping the door 
open drivea staple ‘ 
or screw a picture-frame ring into 
the door, and a hook and link into 
the wall. 

DOOR: CRACKS IN. Open 
the door, place putty along the 
jambs, and cover the edges of the 
door with chalk. Shut the door, 
and the putty will be squeezed out 
where not wanted. Remove this 
putty and leave the rest of it to 
dry, and then paint. 

DOOR: CREAKING. Apply 
oil to the hinges. If rusty, apply 
paraffin first and work the door 
till the paraffin is expelled, taking 
most of the rust with it; then oil 
with thick sperm oil. 

DOOR: HOW TO RECTIFY A 
SAGGING. If the hinges be of 
the modern type, make washers of 
tin to fit the pin and insert them; 
if of the old type, wedge up the door 
to its proper position, take out the 
screws of the hinges and mark off 
the proper positions forthem. Cut 
out the wood with a chisel, plug up 
the old screw holes and then screw 
the hinges up in the new position. 
If the door does not sag much, 
take out a little wood under the top 
hinge and put a washer of thin 
sheet metal under the lower one, 
and screw up. The bottom of the 
door should never be planed away. 

DOOR: SLAMMING. Tack 
rubber or thick cloth on to the 
door-jam casing: 3 in. of material 
at top and 3 in. at the bottom is 
sufficient. ! 

DOUBLE-TREE. For heavy 
work, split the double-tree from 
2 in. oak or ash, 43 in. broad at the 
centre and 33 in. broad at the ends. 


~ 


DRAG—DRAINAGE 


The length should be about 13 times 
the length of the whipple-tree. 
The holes for the clevises should 
be about 3 in. from the ends and 
bored as far back as the irons will 
allow. Make a staple to go 
through the centre from best Low 
Moor iron; the part that goes 
through the wood and the thread 
should be no more than j in. 
diameter, but the back of the 
staple which has to take up the 
wear should be at least 4 in. broad 
x £ in. thick. The staple is held 
in front by two nuts screwed down 
on to a ;'; in. plate, extending over 
both legs of the staple. The 
double-tree should be tapered to- 
wards the ends from both sides, 
and finished with oval edges and 
flat sides, excepting where the 
clevis is applied, and there the 
corners should be left on. [See also 
TRIPLE-TREE AND WHIPPLE-TREE] 

DRAG: CROTCH. Select a 
tree crotch of hard wood, the 
branches being straight and about 
8 in. diameter; the front should be 
worked up as the runners of a 
sleigh and tapered to a bluntened 
point. Make a long mortise 
through the head for the chain 
attachment, which should draw on 


Fia. 1. 


a short rod of iron or wood lying 
across the mortise. Pina saddle- 
piece across the centre, and hollow 
a little in the. middle as shown in 
Fig. 1. If a natural tree crotch 
cannot be found, select two pieces 
of wood with a slight curve, mitre 
them, and bolt firmly together with 


59 


two carriage bolts and washers, 
For hauling barrels, pin on two 


FIG 2. 


saddle-pieces and hollow them out 
as shown in Fig. 2. 

DRAINAGE: LAND. The 
main drains should be laid at the 
lowest parts, such as around the 
base of a hill or down a valley, the 
feeders draining the intermediate 
ground. As few angles as possible 
should be made in all drain work, 
and to those which are necessary 
give a long sweep, not a sharp 
angle. Care should be taken to 
avoid laying the drains too close to 
the roots of growing trees. Allthe 
net-work should be laid sufficiently 
deep in the ground to prevent 
water freezing in it even during 
the most severe winter, and witha 
fall of not less than 1 in. in 10 ft. 

Board: (1) Dig a ditch 1 ft. wide 
x about I1ft. 6 in. deep, then at the 
bottom of it dig another ditch 6 
in. wide x 6in. deep. Cover the 
second small ditch by planks 
resting on the shoulders formed b 
the bottom of the first ditch and 
then fill up with brush, etc., as for 
a blind drain as shown in Fig. 1. 
(2) Nail three 1 in. boards 8 in. 
wide together in the form of a 
triangle, then put them in a ditch, 
from the bottom of which a small 
channel has been dug to receive 
them, sharp side down, and pack 
with coarse stones and rubble as 
shown in Fig.2. (3) For very loose 
soil nail two boards together like 
an inverted V, and lay this on a 
bottom board. 

Brush; Brush drains are most 


60 


suitable in stiff or clayey soil and 
least suitable in loose or loamy 
soil. They should not be employed 
to carry off water immediately 
after heavy rains. Dig the ditch 
1 ft. wide at the bottom, and from 
1 ft. 6 in. to 2 ft. deep. Fill the 
bottom 10 or 12 in. with good-sized 
brush well packed down, the tops 
pointing down stream. Cover with 
a plank, and then lay 3 or 4 in. 
of straw or leaves on the top, to 
prevent sand and mud working 
through. Fill up with stones and 
then earth; leave the top crowning, 
for the brush will settle down in 
the middle in time. 

Pole: Where straight run trees 


Fic. I. 
and branches are easily obtained, 


the pole drain is very suitable. (1) 
Dig a ditch about 1 ft. 3in. broad x 
about 2 ft. to 2ft.6in.deep. Down 
one corner lay logs about 6 in. 
diameter, then lay small branches 
about 3 in. diameter, one end on the 
top of the logs, the other end lying 
in the opposite corner. Lay smaller 
branches horizontally on the top of 
these, then brush, the tops pointing 
down stream, and fill up as for a 
brush drain as shown in Fig 3. (2) 
Dig a ditch about 1 ft. 3 in. wide x 
from 2 ft. to 2 ft. 6in.deep. Place 
logs about 6 in. diameter down one 
corner, and rest planks on these 
logs slanting down to the other 


FIG. 2. 


DRAINAGE 


corner in the same way as No. 1, 
only using planks instead of the 
smaller logs or branches. Fill up 
with brush and stones as for No. 1. 
(3) Dig a ditch about 1 ft. 3 in. wide 
x about 2 ft. Gin. deep. Place logs 
about 6 in. diameter down each 
corner and rest planks on the -top 
of them. Fill up with brush and 
stones as in Nos. 1 or 2. 

Tile: Tile drains should be used 
in gardens for running under paths, 
etc., and are very suitable to work 
in connection with surface boxes. 
All surface boxes, which are used 
to drain. surface water, should be 
built of brick, and be sufficiently 
large to be readily cleaned. At the 


—=— = 


_-_ = 


FIG. 3. 


top an iron grid should be fitted to 
prevent twigs, etc., from falling 
into the box; below the grid, but 
above the pipes, a sheet of stout 
perforated zinc should be fitted. 
The bottom of the box should be at 
least 8 in. lower than the lowest 
part of the discharging pipe, so that 
any sand or dirt which may fall 
through the grid and the perforated . 
zinc will collect at the bottom of 
the box, and not be carried into the 
pipe. The boxes should be periodi- 
cally cleaned out, and after each 
heavy rain-storm, if necessary. 
The pipes for feeders or branches 
should be 2-in. bore ; the main pipes 
will rarely have to be more than 4 


DRAWINGS—DRY-CLEANING 


to 6 in. diameter. It should be 
remembered that a 4-in. main will 
easily carry off the water from five 
2-in. branch pipes; a 6-in. main 
from ten 2-in. branch pipes. If 
the soil be soft, place boards under 
the pipes to support them. Place 
perforated zinc in front of each 
open pipe end, into which or from 
which the water will flow. 
DRAWINGS: HOW TO FIX 
CRAYON. (1) (a) Dissolve puri- 
fied gutta-percha in chloroform, 
and apply it with a scent atomiser 
over the drawing. A drawing thus 
protected can be washed in cold 
water, but the gutta-percha becomes 
sticky at about 150° Fahr. (0) 
Substitute gun-cotton dissolved in 
ether (collodion) for the gutta- 
percha solution in (a). (2) Dissolve 
1 part gum-lac in 10 parts alcohol, 
and filter through animal charcoal. 
Apply sufficient of this varnish on 
the wrong side to soak through 
and fix the dust on the right side. 
(3) Mix 1 part skimmed milk with 
1 part water and wash the pencil 
marks with the mixture, using a 
soft camel hair paint brush. Place 
on a flat board to dry. 
DRAWINGS: HOW TO 
TRANSFER PENCIL. (1) Lay 
the paper to receive the copy ona 
drawing-board, put carbon paper on 
the top and cover with the drawing. 
Pin all three on to the board, and 
then go over the drawing with a 
style, or a darning needle with the 
point ground off. (2) Perforate the 
lines of the drawing with a needle, 
lay it on the face of another sheet of 
-paper, and rub over with powdered 
black lead. Remove the drawing 
and join up the black points left on 
the paper with a pencil. 
DRAWINGS: WORKING. 
Make out drawings for the pro- 
posed work to scale, if it be a large 
job, say 1d in. or3in. =1ft. With 
the leading dimensions given, the 


details can be put in by eye, and 


then scaled off, and so experiment- 


61 


ing on the work itself may be 
saved. 

DRILL: BOW, Make a bow 
about 12 in. to 18 in. long of elastic 
wood or whale-bone. On the drill 
have a pulley, and round the pulley 
give a cross-lap of the bow string. 
Support the drill under the ball of 
the forefinger, and move the bow 


backwards and forwards, thus 
rotating the drill. 
DRILL: IRON. Draw the 


drill out from tool steel, as shown 
in the illustration, and temper the 
two cutting edges dark yellow. [See 
TEMPERING.] Sharpen the two 


ie co aD 


slanting sides to an angle of about 
75° for iron, so that only the front 
edges touch the metal when the 
drill is rotated. 

DRY-CLEANING. Dip a brush 
in warm gall, and apply it to the 
greasy places; then rinse it off in 
cold water. Dry before a fire, 
then strew damp sand over it, and 
beat it into the cloth with a brush. 
Now brush the sand out with a 
hard brush, and when allis removed 
rub a drop of olive oil on the brush 
and brush lightly. 

Black: (1) Boil 2 or 3 oz. logwood 
in water for 4 hr. The cloth being 
cleaned, dip it in warm water, and 
squeeze dry. Then dip it in the 
logwood water, and boil for 4 hr. 
Take it out, add a small piece of 
green copperas and boil for another 
4 hr. Hang the cloth up in the 
open air for from 1 to 2 hrs. Rinse 
once or twice in cold water, and 
dry. Brush with a soft brush over 
which a few drops of olive oil have 
been rubbed. (2) Boil 2 or 3 oz. 
logwood in vinegar, and when the 
colour is extracted, drop in a piece 
of carbonate of iron as large as a 
chestnut, and let it boil. Sponge 
the cloth well with soap and hot 


62 


water, lay it on a flat board, and 
brush the nap down with a sponge. 
Sponge all over with the reviver, 
drawing with the brush in the 
direction the nap lies. When dry, 
dissolve 1 teaspoonful of saleratus 
in warm water, and sponge all over 
with this, to set the dye. Do not 
wring, but hang up to drain, and 
dry. 

DUMB-BELLS. Cut four 
blocks of wood 5 in. cube, round the 
corners and edges, and bore a hole 
right through the centre. Fit 
handles about 8 in. long, 14 in. into 
each cube, so that there will be 
5 in. betweenthe cubes. Pour lead 
into the other end of the holes till 
of the required weight, and then 
piug up the remaining space with 
wood. 

DYE: ANILINE. Mix about 2 
drs. aniline crystals in 4 oz. alcohol, 
and bottle. This will be sufficient for 
about 2 gals.dye. Pour out enough 
water just to cover the goods, and 
add a little sulphuric acid, if silk or 
wool (but alum, if cotton); just 
enough to give the water a slightly 
sour taste is sufficient. Nowadda 
little of the bottled dye, and test for 
colour with a spare piece of silk. 
When the dye is of the required 
strength, rinse the silk in water, 
immerse it in the dye, and heat 
gradually till it boils. Make the 
rinsing water sour with sulphuric 
acid for silk and wool, but with 
alum for cottons. Where special 
instructions are printed on the 
wrapper, they should be carefully 
carried out. 

DYE: BLACK. Boil a large 
kettleful of butter-nut bark for 4 
hrs; take out the bark, and put in 
a spoonful of copperas. The more 
copperas put in the deeper the 
black, but too much rots the goods. 
While the dye is boiling, put in the 
fabric, and keep stirring, and every 
few minutes lift the goods with a 
stick into the air, till the required 
shade is obtained. If left folded, 


DUMB-BELLS—DYE COTTON 


or packed too tightly, the goods 
will become spotted. 

DYE : HOW TO BRIGHTEN. 
For blues and purples mix soda in 
the rinsing water. For pink and 
green use vinégar in the rinsing 
water. 

DYE COTTON: HOWTO. No 
acid should be used in the dye, but 
alum used instead. Acid sets the 
colours best, but rots the cotton. 

Blue: Dissolve 1 oz. best Spanish 
indigo, 1 oz. sulphate of iron and 
2 oz. quicklime in water. [See also 
Dye SILK (Indigo), and Dyk 
CoTTon (Indigo)] 

Indigo: Mix indigo in water, 
soak the cottons in it, and dry. 
No mordantis required. This dye 
is also used for wool and silk. 

Purple: (1) Immerse the cottons 
in a solution of oxide of iron. (2) 
Dye the cottons first blue, and then 
immerse them in a decoction of 
logwood. 

Red: (1) Dip the cottons in a 
weak solution of alumina, dry at a 
high temperature, and then wash, 
Dip them in a hot solution of 
madder, and wash again. (2) Im- 
pregnate the cotton first with oil, 
then with galls, and then with alum. 
Boil it for about 1 hr. in a solution 
of madder, to which a quantity of 
blood may have been previously 
added. After the cloth is dyed, dip 
it into a soda lye. _ 

Yellow: (1) Dissolve 9 oz. sugar 
of lead in 6 lb. water. Dissolve 
6 oz. bichromate of potash in 6 Ib. 
water. Make the goods wet, and 
dip them first into the sugar of 
lead solution, next into the potash, 
and then again into the sugar of 
lead. Wring them out as dry as 
possible, and rinse them in cold 
water. This gives rather an orange 
tint, which may be intensified by 
dipping the goods in strong lime- 
water. The quantities given will 
dye 6 lb. goods. (2) Mix 83 oz. 
sugar of lead and 164 oz. litharge 
in 3 gals. water, and heat it to boil- 


DYE FEATHERS—DYE MOSS 


ing—stirring all the time. Keep 
boiling about 10 mins.; leave to 
settle, decant, and while warm put 
in the bleached cottons. Dry bya 
fire slowly, and then dip the good 
into a solution of 8} oz. bichromate 
of potassa in 4 oz. nitric acid and 
3 gals. water. Wash them well in 
warm water, and then dip them in 
a bath of 2 drs. saffron dissolved in 
1 qt. alcohol until the desired tint is 
obtained. This dye gives a golden 
chrome yellow tint. 

DYE FEATHERS: HOW TO. 
Aniline dyes are good, with the 
exception of black, if the instruc- 
tions on the wrapper be carried out. 

Black: (1) French black. (2) 
Steep in a strong logwood decoction 
for 10 hrs.; then in a solution of 1 
oz. bichromate of potash to 4 gals. 
water at 200° Fahr. for 1 hr. Re- 
peat both baths, if the shade be not 
dark enough. 

DYE FUR: HOWTO. Mix 1 
qt. lye, in which an egg will float, 
with 2 gts. soft water, and heat in 
an iron kettle. Pulverise 1 oz. 
acetate of lead, 1 oz. sulphate iron 
and 7 oz. litharge, and dissolve one 
at atimein the lye. When the fluid 
is blood warm, put in the furs for a 
few moments ; then air them, and 
dip in strong vinegar; shake them, 
and hang up to dry. If not dark 
enough, add more ingredients to the 
lye. [See also DyE SKIN (How TO)] 

DYE GLOVES: HOW TO. 
Black: Steep 4 oz. logwood chips in 
2 qts. water, and then add a little 
copperas and alcohol. Put the 
gloves on the hands, or on substi- 
tutes made of wood; brush over 
with the dye, and rub the hands 
together gently, until the gloves 
are dry. If not black enough, re- 
peat. Whenthe gloves have become 
chafed or spotted, add salad oil to 
ink and apply with a feather. 

Colours: Almost any fast dye 

‘will do. Brush over the leather 
with the dye, and let it dry ; repeat 
three or four times. Brush off the 


63 


material collected on the surface 
of the leather, and when dry rub 
with a smooth stick, then wipe 
over with a sponge wet with the 
white of an egg. 

DYE GRASSES: HOW TO. 
For ornamental purposes, dip the 
grasses, leaves, everlastings, etc., 
in an alcoholic solution of aniline 
compounds, and let them dry in 
the sun. The depth of colour can 
be altered by diluting with alcohol. 

DYE: GREEN. Mix 14 oz. 
oxalic acid with 1 qt. soft water. 
Mix 2 oz. Prussian blue in 1 qt. 
soft water. Leave the two solutions 
for 12 hrs., and then mix them to- 
gether with enough water to cover 
the fabric. Put in the fabric, and 
leave for 20 mins. ; then take it out, 
wring it, and dip it in the following 
yellow dye. Dissolve 6 oz. sugar of 
lead in 1 pt. hot soft water. Dissolve 
43 oz. bichromate of potash in 1 pt. 
hot soft water. Add sufficient water 
to each, and then dip the fabric 
first in the lead and then in the 
potash solution, and repeat dipping 
as often as necessary. The quanti- 
ties given will be enough for about 
4 lb. goods. 

DYE LEATHER: HOW TO. 
Black: (1) Steep 2 lb. bark of elder, 
and 2 lb. iron filings in two gals. 
pure water; put in a cask and 
stopper firmly. After two months, 
press the liquid well out, and add 
1 lb. powdered nut-galls and 4 lb. 
copperas. Stir over a fire and 
press out the liquid. (2) Mix 1 oz. 
gum-tragacanth, 2 oz. ivory black, 
2 oz. neatsfoot oil, 2 oz. deep blue 
prepared from iron and copper, 
and 4 oz. brown sugar in 4 oz. soft 
water. Evaporate the water, and 
form the blacking into cakes, To 
use, rub the cake over the leather, 
and polish with a cotton cloth. 

DYE MOSS: HOWTO. Mix 
4 Oz. gum-arabic in 4 pt. water, 
and add 1 oz. chrome green, or any 
other suitable dye. Thoroughly 
wash the moss, and heat up, but 


64 


do not boil the dye, and immerse the 
moss in the hot liquid. When dyed, 
lay the moss out on paper to dry. 

DYE: ROSE. Dissolve 1 dr. 
rose aniline in 4 teacupful alcohol 
and mix it with half a pailful warm 
soft water. Wring the goods out 
of warm water, and put in the dye, 
lifting the fabric frequently. Take 
them out, and dry them before 
washing, and use but little soap. 
If many articles of a required shade 
are needed, put them all in together, 
for the dye weakens rapidly. 

DYE: HOW TO SET. Some 
mordants modify the colour of the 
dye; for instance, alum brightens 
madder to a light red, sulphate of 
iron darkens it to purple, etc. It 
is therefore best to always dye a 
sample before dyeing the whole. 

DYE SILK: HOWTO. Black: 
Prepare the dye as in DyE WOOL 
(How To: Black), using red oxide of 
iron, copperas, tannin, bichromate 
of potassa and logwood, the propor- 
tions to suit the quality of the silk. 
Logwood imparts a lustre and 
fulness to the black. Sulphate of 
iron can be dissolved in double its 
weight of cold water, but it is in- 
soluble in alcohol. The silk when 
first dyed will often appear of an 
iron-grey colour, but it may be 
finished by stretching it out tightly 
and rubbing for about 4 hr. with a 
rubber of flannel slightly dampened 
with oil. 4 tablespoonful of sweet 
oil will be found sufficient for a pair 
of stockings. 

Blue ; To obtain different shades 
of Prussian blue, mix prussiate of 
potash, and chloride or sulphate of 
iron with water, adding more or 
less water to vary the shade. For 
deep shades, use acetate instead of 
chloride of iron. If the shade be 
light, and has a greenish tinge, 
wash well in river water; if the 
greenish tint still remain, dip the 
silk into a weak solution of hydro- 
chloric acid. [Sze also Indigo, below; 
Dye (ANILINE), etc.) 


DYE (ROSE)—DYE SILK 


Brown: Fillthe kettle with river 
water; bring gently to a boil, and 
then add 4 oz. chipped fustic, 2 oz. 
madder, and 1 oz. sumac. Boil 
all together from 4 hr. to 2 hrs. 
Then pour the liquor into cold 
water, and put in the goods, and 
let them simmer for from $ hr. to 
1 hr. If the colour be too bright 
or light, add a little green copperas. 
Rinse in two or three waters, and 
hang up to dry. 

Crimson: For light silk work, 
pour boiling water over a teaspoon- 
ful of cudbear, let it stand fora few 
minutes, then put in the silk, turn 
it over for a short time, and when 
the colour is deep enough, remove 
it. If it should require more violet 
or crimson, add one or two tea- 
spoonfuls of purple archil. Dry 
indoors, and finish by pressing. 

Flesh Colour: Wash the silk in 
clean soap and water, then rinse 
it in hot water. Mix 3 tablespoon- 
fuls purple archil in a hand-basin 
half-full of hot water. Immerse the 
silk in the dye, and when it is half 
violet or lilac, remove it, and rinse 
slightly in cold water. Hang the 
silk up in a closed box, and light 
some sulphur in the bottom, so 
that the silk is suspended in sul- 
phur fumes. [See BLEACH 
WooLLENs.] When the silk is of 
the required tint, take it out and 
rub it on the right side with a clean 
flannel. 

Indigo; Dissolve 1_oz. indigo in 
4 oz. concentrated sulphuric acid, 
add 1 oz. dry carbonate of potash, 
and dilute with 3 lb. soft water. 
Wash the silk clean and boil it in 
water, to which has been added 5 
oz. alum and 3 oz. tartar for every 
2 Ib. silk. After boiling a short 
time, take out the silk and drain it ; 
then put it in a water bath, and 
add as much of the indigo dye as 
is necessary for the desired tint. 
The best way is to test the colour 
with a spare piece of silk. Rinse 
stretch and iron. 


Tt? = 
ae 
™~ 


DYE SKIN—DYE STRAW 


Purple ; (1) First dye crimson 
with cochineal dye (see Scarlet) 
and then dip in indigo dye. (2) 
Boil archil in water, immerse the 
silk quickly, let it cool, and then 
rinse in river water. 

Scarlet: For silk shawls, etc. 
Dissolve 2 oz. white soap in boiling 
water; handle the shawl through 
this, till perfectly clean, and then 
rinse out in warm water. Dissolve 
4 oz. best Spanish annatto in hot 
water, pour it into a pan of warm 
water, and handle the silk through 
this for # hr.; then rinse in clean 
water. Dissolve a piece of alum, 
as big as a chestnut, in warm 
water, place the shawl in this for 
4 hr., then rinse in clean water. 
Boil + oz. best cochineal in water 
for 20 mins., dip out into a pan, and 
let the shawl remain in this for 20 
mins. Take out the shawl and add 
1 gt. more of the cochineal, and 
about 4 of a sherry wineglassful 
of solution of tin. Put the shawl 
in, and when cold rinse slightly in 
soft water. 

DYESKIN: HOWTO. Before 
dyeing, clean the skins—if the wool 
or fur be attached—with soap and 
lukewarm ammonia water. Then 
lay the mat out flat, and work the 
soap well in till the skin and fur is 
free from grease. Double the mat, 
skin side outside, and rinse in two 
warm waters. After dyeing, soak 
the mat in salt water for 4 hr.; 
then take it out, lay it on a table, 
and work out as much water as 
possible with some blunt instru- 
ment. Care must be taken in this 
last operation, as the skin will most 
probably be very soft and easily 
torn. 

Black: Apply clear logwood 
water, and after the skin is dry, 
use copperas water sparingly. 

Brown: (1) Boil 5 lb. oak bark, 
4 Ib. fustic, and 14 oz. logwood in 
water, and then strain. Having 
dipped the skins in the dye, dip 
them in alum water for a mordant. 


5 


65 


(2) Boil 5 to 6 Ib. fustic in the dye- 
ing vat, and allow it to cool to 100° 
Fahr., then add a solution of 2 oz. 
Bismarck. Immerse the mat and 
work with the hands for 20 mins. 
If not dark enough, add 2 oz. cop- 
peras to the dye, and handle till of 
the required shade. 

Buff: Mix 5 parts whiting, and 
2 parts yellow ochre to a paste with 
water; make it into cakes, and 
dry. Raise a nap on a dressed 
piece of leather with sand-paper, 
and then rub the powder from a 
cake thoroughly in. 

Orange: Boil, and dip the skin 
in a solution of 3 oz. muriate of tin, 
and 4 oz. ox gall for 1 hr.; then 
add 24 Ib. fustic. Boil for 10 mins., 
and dip for 30 mins., then add a tea- 
cupful madder and dip for another 
30 mins. 2 oz. cochineal may be 
substituted for the madder if a 
brighter shade be desired. 

DYE: STONE-COLOUR. Boil 
3 tablespoonfuls good green tea in 
sufficient water to cover 1 lb. fabric, 
and strain. Add and dissolve a 
piece of copperas as big as a chest- 
nut in the liquor, and then immerse 
the goods, and boil for from 5 to 10 
mins. 

DYE STRAW: HOW TO. 
Black: .(1) Immerse the straw in 
a boiling decoction of logwood 
extract for 4 hrs.; then take it out 
and air it till mearly dry. Adda 
little copperas to the logwood, and 
repeat the boiling, and allow the 
dye to cool down with the straw in 
it. After drying, dress over spar- 
ingly with olive or sweet oil on 
both sides, and press into shape. 
(2) Dip first in a solution of ferrous 
sulphate, and then in a strong 
decoction of nut-galls. 

Green: Place the straw in boil- 
ing water for 10 mins., and allow 
it to cool. Meantime mix 45 grs. 
chloride of lime, and 45 grs. crystal- 
lised carbonate of soda in 1 qt. 
water. Immerse the straw in the 
clear liquid obtained by allowing it 


66 


to settle. Move about the articles 
thus bleached in a bath of 45 grs. 
hydrochloric acid to 1 qt. water 
for 5 to 10 mins., and colour the 
straw by agitating it in a bath ofa 
solution of aniline green at blood 
heat, in a wooden vessel. 

DYE VARIEGATEDTHREAD: 
HOW TO. Wind the cotton or 
yarn on a reel, and cover parts 
by tightly binding on parchment 
covered with tin foil. Dye the 
exposed parts, then remove the 
parchment, cover over the dyed 
parts, and dip into another dye, 
and so on. 

DYE WICKER-WORK: HOW 
TO. Black: Brush well with hot 
lime water, and then rinse in clean 
water. Dip ina boiling decoction 
of logwood and gall-nuts, and then 
in acetate of iron, and finally 
paint with weak glue size. 

DYE WOOL: HOWTO. Black: 
(1) Boil 3 Ib. logwood, 1 Ib. yellow 
wood, 1 Ib. sumac and 4 Ib. tartar 
in water till all the strength is 
extracted, and then strain. Boil 
the clothes in this; wring, and 
pass them through a liquid of 3 Ib. 
sulphate of iron, and 3 lb. sulphate 
of copper. This dye may also be 
used for skins, passing them through 
the two liquids alternately till of 
the required colour. (2) Boil ina 
solution of chromate of potash; 
then wring, wash and boil in a 
strained liquid made from 3 1b. 
logwood chips and 2 ib. fustic. Use 
warm and slightiy acid ;insing 
water, and then wash. (3) Make 
a decoction from 5 parts nut-galls, 
and boil the wool in it fur 2 hrs.; 
then mix 5 parts sulphate of iron, 
30 parts logwood, und keep it at a 
scalding heat with the wool in it 
for2hrs. Frequently lift the goods 
to allow them to air; and if a little 
acetate of copper be added it will 
strengthen the colour. (4) Clean 
the wool with soap and cream of 
tartar. Mix 4 oz. bichromate of 
potash and 4 oz. crude tartar ina 


DYE VARIEGATED THREAD—DYE WOOL 


kettle of water. Put in the wool- 
lens and boil for 40 mins. Then 
take them out, and when they are 
nearly cool, immerse them in a 
bath made of 4 oz. logwood chips 
and # oz. fustic chips in a kettle of 
water. 

Blue: Dissolve 2 tablespoonfuls 
copperas in 4 gals. water; wet the 
goods in warm suds, and let them 
remain 10 mins. in the copperas 
water. Dissolve prussiate of potash 
in 4 gals. water, put the wool into 
this and leave for 5 mins. ; remove 
and add to the potash water 13 
tablespoonfuls of oil of vitriol. Put 
the goods again into the dye, and 
let it come to a boil. Dry in the 
sun. [See also Indigo, below.] 

Blue-Black: First dye Prussian 
blue, and then work the goods for 
4 hr. in a decoction of 4 Ib. logwood. 
Then add 1 oz. red chromate of 
potash, and work for 4 br. more; 
wash and dry. These weights for 
10 Ib. goods. 

Brown: For 15 tb. to 20 Ib. 
goods, dissolve 1 lb. catechu and 4 
oz. blue vitriol in 4 gals. water and 
strain. Make the goods wet, and 
put them into the dye for 1 hr. 
stirring constantly, then take them 
out to air. Dissolve 4 oz. bichro- 
mate of potash in enough hot water 
to cover the goods, and then dip 
them until the colour suits. Do . 
the colouring in a brass or cepper 
kettle. 

Cochineal: Simmer 1 oz. cochi- 
neal, 2 oz. sulphate of tin, and 1 oz. 
cream of tartar with 4 qts. soft 
water in a brass kettle till dissolved. 
Immerse the wool, and let it 
simmer for 3 hr., stirring and lift- 
ing it into the air constantly ; then 
wash in clean soap suds, . 

Crimson: Stir 4 oz. cudbear into 
1 gal. strong soap suds. Wash the 
woollens in clean soap suds, and 
without wringing place them in the 
dye. Keep them hot in a brass kettle 
over a stove till they are of the 
required shade. 


2 


DYE (YELLOW)—EASEL 


Indigo: (1) Powder 4 oz. Spanish 
indigo and pour over it 4 lb. oil 
vitriol; stir together and add a 
lump of pearlash the size of a pea. 
As soon as fermentation is ended 
bottle, and it will be ready for use in 
24 hrs. Dilute the dye with warm 
water to the desired shade, wash 
the wool well, and after keeping it 
in the dye long enough, take out 
the fabric, dry it, and then wash it 
in lukewarm suds. Then rinse 
and hang up to dry. (2) Take 
2 oz. best indigo, in fine powder, 
just sufficient water to cover, and 
6 lb. of wool in the grease. Put 
the whole in a kettle large enough 
to contain all the wool to be dyed. 
As soon as the requisite colour is 
obtained, wash and dry the wool. 
The dye remaining may be used for 
lighter blues. (3) To dye blue a 
second time (a) dissolve 13 lb. alum, 
10 oz. cream of tartar and 6 oz. ex- 
tract of indigo in 10 gals. water. (d) 
Boil 3 lb. logwood chips in 10 gals. 
water and strain. Wash the cloth in 
hot soap and water, and then rinse 
in clean cold water. Boilfor3hr. in 
(2); wring out, and let it simmer in 
(6), which should be almost, not 
quite boiling, for 2 hrs. 

Madder Red: (1) Soak 4 Ib. 
madder in warm water for 12 hrs. 
in a brass kettle. Dissolve 3 Ib. 
alum and 4 lb. cream of tartar in 
soft water, boil for 5 mins. and 
skim. Wet the articles to be 
coloured in strong soap suds and 
boil them for 3 hrs. in the alum 
and tartar water; then wring out 
andairthem. Put the articles in 
the madder, warm over a slow fire 
for 3 hrs. and keep stirring; during 
that time wring and air them two 
or three times. The articles must 
actually be in the madder 3 hrs., 
the time in the air not counting. 
Finally wash the wool in soap suds 
and wring it out. These quantities 
will be sufficient for 8 lb. woollens. 
(2) Soak 1 Ib. madder in enough 
best cider vinegar to wet it. 


67 


Dissolve ? lb. alum in sufficient 
water, and boil the wooilens in it 
for 2 hrs. Boil 1 qt. branin 2 gals. 
soft water and strain. Add this to 
the madder; put it in a brass 
kettle, and fill up with sufficient soft 
water to cover the woollens. Bring 
to a scalding heat and put in the 
yarn, keep it hot for 1 hr. fre- 
quently turning the yarn. Take 
out the yarn and rinse immediately 
in cold water. These quantities 
will be sufficient for 23 lb. woollens. 

Orange: First dye scarlet, and 
then place the woollens in a yellow 
dye. 

ie - For 5 lb. cloth mix 74 oz. 
ground cochineal in 3 gals. soft 
water, and boil for 5 mins. Then 
add 10 oz. cream of tartar, and 1 
port wineglassful muriate of tin. 
Throw the goods in, and handle 
them for ? hr., wash in clean water 
and dry. 

Scarlet: (1) First boilthe woollens 
in a solution of murio-sulphate of 
tin, then dye them pale yellow with 
oak bark, and afterwards crimson 
with cochineal. (2) For 1 1b. cloth 
mix in warm water 4 oz. cream of 
tartar and 1 oz. pulverised cochineal, 
then add 2 oz. muriateoftin. Stir 
until it scalds, and then put in the 
cloth. (3) Dip in a solution of 
alkaline or metallic salt, then in 
cochineal dye, and let it remain 
some time. (4) For 1 lb. cloth mix 
4 lb. madder, 4 oz. cream of tartar, 
1 oz. marine acid and bring to a 
scalding heat. Put in the material 
and leave for 10 mins. 

DYE: YELLOW. Bruise 10 lb. 
young poplar twigs, and boil them 
in 3 gals. water for 20 mins. Filter 
hot and allow to cool, and then 
filter again through powdered resin. 
On exposure to sunlight this dye 
turns bright yellow, and may be 
used for any fabric. 


EASEL. Plain: Cutthreerods of 
white deal 6 ft. long x 1? in. wide 
x 2in. thick, and plane them up 


68 


square. Put them together by 
nailing, or screwing on two cross- 
pieces of the same width and 
thickness. Spread the bottom 20 
in. apart, the top 12 in. apart, and 
in the bottom cross-piece put two 


wooden pins for the picture to rest 
on, about 18 in, apart. Fasten a 
brace stick at the back to the 
centre bar of the same wood as the 
rest, but about 5 ft. long, with a 
light door hinge. 

Rustic: For small pictures make 
as shown in Fig. 1 of slim shoots 
from a fir tree, with the buds full, 
dried inanoven. For the supports 
take two pairs and cross them at 
the top and two short ones going 


Fic 1. 
from point to point at top, and four 
at the bottom making a square. 
As a hold for the picture above and 
below a second square bar is put. 
Fasten at all places where a cross 
is formed with brads. Figs. 2, 3] buds on. To hold the twigs to- 


EASEL 


and 4 are illustrations of easels 
in rustic work, to serve as guides, 
which are easily constructed. Fig. 


Fic. 4. 


4 is the leg or brace to Fig. 3. 
Make from spruce or fir with the 


EBBONY—EGG-BLOWING 


gether use brads. Two parallel 
sticks at the bottom are nailed on 
for the picture to rest on. The 
support should be attached, pre- 
ferably hinged, to the top cross- 
piece. 

EBONY: ARTIFICIAL. Steep 
dried rose petals or used tea 
leaves in just enough water to 
soften them, then add equal parts 
strong gum-tragacanth and gum- 
arabic and make toa thick paste. 
Add a few drops of oil of cloves or 
otto of roses and sufficient ivory 
black to colour, then macerate all 
in a mortar. This material very 
closely resembles ebony, and it 
may be cast and carved. It is also 
useful as a filler for ebony. 

EGG-BLOWING. tt will be 
necessary to have a drill and blow- 
pipe before being able to blow the 
egg, and if the egg be hard set 
numerous small scissors, knives 
and tweezers will be required. 
These can be bought from any 
good naturalist. To make the 
blowpipe, nick a piece of + in. glass 
tube about 10 in. long with a three- 
cornered file, and break off the 
length. Then hold it longways 
over an ordinary fish-tail gas flame, 
rotate it backwards and forwards 


69 


Fig. 3. Temper straw [sce TEMPER- 
ING], and then sharpen it up ona 
hone, Hold the egg to be blown 
over a basin of water, so that if it 
be dropped it will not break, and 
make a small hole with a needle 
in the side which is least prettily 
marked. Then placing the point 
of the drill in this hole and resting 
the first finger on the top, rotate it 
backwards and forwards between 
the second finger andthumb. This 
should cut out a small and perfect 
circle in the shell as shown in Fig. 
4, and the membrane hanging 
round the edge of it should be 
removed with a small pair of 
tweezers. Now, holding the egg 
hole downwards, blow through: the 
blowpipe so that the fine stream of 
air impinges on one side of the hole, 
when the contents will “sizzle” 
out at the other side of the hole. 
If the egg be not quite fresh and 
the contents do not flow out freely, 
inject a little water into the egg 
with the blowpipe and shake it up 
to make all loose, then blow as 
before. If the egg be really hard 
set, the hole in the egg must be 
covered with five or six layers of 
pieces of thin paper cut to the 
shape shown in Fig. 5, the first 


Fia. 1. 


between the thumb and finger, and 
gradually insert it in the flame. 
When soft, bend it to the shape 
shown in Fig. 1. Let it cool, and 
then gradually insert it in the 
flame again, but this time across 
the flame, and when soft pull out to 
a point as shown in Fig. 2, and 
break itin half. This will make two 
blowpipes. To make a drill break 3 
in. off a big steel knitting-needle, 
soften it [see ANNEALING (Iron 
and Steel)], and file the broken 
end to a six-sided point as shown in 


Fia. 2. Fia. 3. 
piece being gummed: on to the 
egg, the second gummed on to the 
first and so on till the egg shell is 
sufficiently supported round the 
edge of the hole. Then drill outa 
fairly large hole with a special sort 
of file drill, which should be bought, 
and cut up the contents of the egg 
through this hole with the special 
small knives and scissors, and 
remove the pieces with very small 
tweezers. The contents of the egg 
being now removed, inject water 
with the blowpipe till the egg is 


70 


half-full, shake it up and blow out 
again. Dissolve 6 grs. corrosive 
sublimate in loz. spirits of wine, 
and half-fill the egg with this, using 
a syringe—not the blowpipe—as 
this mixture is an exceedingly strong 
poison. Shake up, and blow out 
again as before. Then stand the 


C:) 


Fia. 4. Fra. 5. 


egg to drain on a piece of white 
blotting-paper, the hole down- 
wards. The outside of the shell 
should not be wetted more than 
possible, as water applied on the 
outside sometimes alters the egg’s 
appearance. 

EGG: CHICKEN IN. Put the 
eggs in warm water; those con- 
taining chickens will roll about, but 
those which are addled will lie 
motionless. 

EGG: HOW TO PRESERVE. 
When eggs are kept separately, set 
them up small end pointing down- 
wards; when packed in quantities in 
a barrel, turn the barrel over peri- 
odically, so that each egg first rests 
on the small and then on the large 
end. Barrels of eggs should in all 
cases be kept dry and cool. (1) (a) 
Grease the shell all over with fresh 
lard or butter. (b) Coat the shell 
with gum-arabic, and when dry 
pack in powdered charcoal. (2) (a) 
Strew a layer of some dry material, 
such as oats or dry sawdust, over 
the bottom of a box or barrel. Set 
a layer of eggs in this point down- 
wards, and then completely cover 
with more oats; then set another 
layer of eggs as before, and so on 
till the box is full. (b) Substitute 
salt for the dry material. Thisisa 
very good preservative, but it tends 
to slightly harden the albumen. 
(3) (a) Place 2in. salt on the bottom 


EGG (CHICKEN IN)—EGG-TESTING 


of a firkin, and then pack in fresh 
eggs point downwards till full. 
Slake 3 pts. quicklime in 6 gals. 
water, and add 23 pts. salt. Leave 
to settle for 12 hrs., and then pour 
the clear liquid over the eggs. A 
few plates or a board should be 
placed over the eggs to prevent them 
floating. The eggs must be kept 
entirely under the brine, and if one 
break it must be removed, the old 
liquid poured off and fresh liquid 
added. (6b) Mix 4 peck lime with 
4 gals. boiling water, and when cold 
remove any lumps. Then add 10 
oz. salt and 3 oz. cream of tartar, 
and mix thoroughly. Leave for a 
fortnight, and then pour the liquid 
over eggs packed as in No. 3 a. 
(4) (a) Dip the eggs in boiling water 
for 4 min., and store them point 
downwards in a cool dry place. 
(b) Mix equal parts alum and lime 
in boiling water and dip the eggs in 


for 10 secs. Store the eggs as for 
No. 4 a. 
EGG-RACK. Nail four boards 


18 to 24 in. long x 12 in. wide into 
a square open frame. Make four 
shelves to go into the frame 4 in. 
thick, and the same length as the 
sides. Bore the shelves with 1 in. 
holes, so that when the eggs are 
stood" up in them, the shells just 
do not touch. The shelves can be 
grooved in or rest upon cleats, 
and no back or front is required. 
Place the eggs small end down, 
and keep the rack in a dry cool ~ 
place. It may be hung by wire in 
an open space, or against a wall. 

EGG: HOW TO TEST. Hatch- 
ing : After the hen has been sitting 8 
or 10 days, go at night with a lighted 
candle to the fowl house. Put the 
hand under the hen, and remove an 
egg. Shade the eye from the candle 
with the left hand, making a ring by 
bringing the thumb and forefinger 
together. Hold each egg against 
this ring so as to allow the light to 
shine through the centre of the egg. 
The eggs containing chickens will 


ELECTRIC CELLS 


appear dark, except for a clear 
space at the larger end. Those 
that appear as though filled with 
wax should be thrown away. Re- 
place the good ones immediately. 

Table: Hold the egg between 
the eye and the light, cutting off all 
rays of light with the hand except 
those passing through the egg, 
which should then be translucent. 

ELECTRIC CELLS. The 
greatest difficulty experienced in 
making cells with a carbon plate, 
such as bichromate or Bunsen, is 
to secure a good electrical connec- 
tion between the terminal and the 
carbon. This may be done by one of 
the following methods. (1) The most 
usual method is to cast a lead cap 
round one end. Mix ordinary 
yellow sand slightly damp, and 
make an impression in it, say } in. 
broader each way than the carbon 
end, and ? in. deep. Make a few 
notches in the end of the carbon, 
and support it in the middle of the 
mould 4 in. from the bottom. Pour 
in the molten lead, and leave it to 
cool. Then drill a hole in the top 
of the lead, tap it and screw in the 
terminal. Paint over the lead 
and 1 in. below on the carbon with 
Brunswick black. (2) Copper plate 
the top 2 or 3 in. of the carbon, and 
solder a piece of wire on. Cut a 
piece of copper to fit in the bottom 
of a salt jar, and solder it into a 
thick piece of copper wire 1 ft. 
long. Cover the copper plate with 
1 in. of copper sulphate crystals, 
and pour in a solution of 1 part 
sulphuric acid to 10 parts water, 
to cover them over 2 in. Paint a 
band of paraffin wax 1? 1n. from 
the end of the carbon to prevent it 
being plated too far up, and immerse 
this end in the liquid, letting it rest 
on the crystals. Twist a piece of 
wire round the other end of the 
carbon, and connect it to the zinu | 
plate of a Daniell cell. Connect 
the wire from the copper plate in 
the bottom of the jar to the copper 


71 


plate of the Daniell cell, and leave 
for 2 or 3 days, replenishing the 
copper sulphate crystals, as they 
are used up. The top # in. of the 
carbon should now be plated a 
bright red colour, and two small 
holes should then be drilled through 
the plated part. Run hot water 
through these holes till the carbon 
is quite clean; then dry, and then 
dip the end in melted paraffin wax 
till the wax rises and extends 4 in. 
beyond the plating. (3) Ifthe carbon 
be very hard it may be drilled and 
tapped, and the terminal screwed 
in direct. The end should then be 
placedin melted paraffin wax till the 
top 2 or 3 in. are saturated. Rolled 
zinc is better for plates than cast 
zinc. Zinc plates should in all cases 
be amalgamated. Theseshould first 
be dipped in diluted sulphuric acid, 
and then mercury rubbed over with 
a small piece of flannel. The 
mercury will then combine with, 
and form an amalgam on, the 
surface of the zinc. 

Bichromate: Two carbon plates 
(C) are hung, one on each side of a 
zinc plate (Z), in a glass jar. The 
zinc should be amalgamated, and 
is preferably fixed to a brass rod 


(8) sliding in the wooden cap (A). 
When the ceil is not in use the 
zinc should be raised out of the 
liquid by pulling the rod up. Mix 
10 parts saturated solution of 


72 


bichromate of potash, with 1 part 
sulphuric acid, and pour it into the 
jar till it is about 4 in. from the 
top of the zinc. 

Bunsen: A carbon rod (C) is 
placed in a porous pot (P), into 
which strong nitric acid is then 
poured till it is about 1 in. from 
the top. The porous pot is then 


placed in a larger pot (G) made of 
glazed ware, and an amalgamated 
zinc plate (Z) bent to a cylinder, 
placed between the two, and the 


Fia. th 


space then filled up with dilute sul- 
phuric acid. The voltage from this 
cellis about 1°9. This cellis a modi- 
fication of the Grove cell, the ex- 
pensive platinum foil being replaced 
with a rod or slab of carbon. 
Chromic solutions, formed by add- 


Fra. 2. 


ELECTRIC CELLS 


ing strong sulphuric acid to solu- 
tions of bichromate of potash and 
soda, are sometimes substituted 
for the nitric acid in cells of this 
type. These cells are useful where 
voltage is required, as for an in- 
duction coil, but the objections to 
them are, that the acid gives off 
bad smelling gases, when in use, 
and they require a good deal of 
attention in filling up constantly 
with fresh acid, and keeping them 
clean. 

Daniell: This cell is made from 
an outer glazed or glass jar (G) Fig. 
1, which holds a piece of copper bent 
round in the form of a cylinder (C). 
Within the copper is a porous pot 
(P), which is preferably supported 
on an insulator, such as a piece of 
wood, and it contains an amalga- 
mated zine rod (Z), which should 
also be supported with wood, so 
that it does not touch the porous 
pot atall. Fill up the porous pot 
with dilute sulphate of zinc. At 
the bottom of the glazed jar 1 in. 
of copper sulphate crystals are 
strewn, and the space between the 


Fra. 3. 


jar and the porous pot then filled 
up with a concentrated solution of 
copper sulphate. A modification 
of Fig. 1 is shown in Fig, 2. The 
outer jar is here made of copper, 
so that it servesthe double purpose 
of holding the copper sulphate 


ELECTRIC CELLS 


solution, and of the copper plate. 
A perforated copper shelf (S) is 
attached, in which copper sulphate 
crystals are supported. For the 
rest itis the sameas Fig. 1. Fig.3 
shows the usual arrangement of 
cell as used for telegraphic work. 
A glazed pot (G) is made with a 
projecting strip (P) of unglazed 
ware in the centre, which serves 
the purpose of the porous jar. 
The copper sulphate solution, crys- 
tals and copper are placed in one 
partition, and the zinc and zinc 
sulphate in the other. This ar- 
rangement is used because they 
can be so readily grouped ‘in 
series’. Neither the zinc nor 
copper should ever touch the 
porous pot below the surface of 
the liquid, for if it does, the zinc 
will most probably become coated 
with copper; this should be scraped 
off immediately it is noticed. The 
porous pot should not be very 
porous, and if the top and bottom 
be soaked in melted paraffin wax, 
it will prevent the acids from 
creeping, and sometimes the pot 
from cracking. These cells are 
often used for plating work, and 
should then be of a large capacity. 
For this purpose use the large 
glass covers sold for covering ferns, 
and cement them into a wooden 
bowl, cut approximately to shape, 
with plaster of Paris. 

Dry: The outer zinc cylinder 
2) is best bought from the makers, 
rut it may be made from sheet 
metal, and soldered up. Mix 5 
parts plaster of Paris and 2 parts 
chloride of ammonium with 10 to 
11 parts water, and line the zinc 
case } in. thick all over with this 
plaster (P). After about 1 hr., 
place a piece of glass, vulcanite or 
fibre on the bottom, and then 
rest a carbon rod (C) on the top of 
it. Fill up the space between the 
carbon and the plaster to within 
z in. of the top with a mixture of 
30 parts powdered graphite, or 


73 


carbon, 4 parts manganese oxide, 
2 parts chloride of zinc, 4 parts 
chloride of ammonium and 1 part 
glycerine in water to a thick paste 
(A). Seal the top with pitch, or 
equal parts pitch and resin, if the 
place in which the cells are to be 
kept is hot, and glue 2 or 3 thick- 
nesses of brown paper over all. If 


a dry cell be run down, drill a 
few holes in the top, and let it 
soak in a mixture of 1 part satura 
ted solution of chloride of zinc 
and 2 parts saturated solution of 
chloride of ammonium. This may 
give good temporary benefit, but 
the cell will have to be recharged 
to benefit it for any length of time. 

Leclanché: Insert a carbon rod 
or slab (C), which has previously 
had lead cast round the top for the 
terminal to screw into as explained 
before, into a porous pot (P). 
Break up and mix equal parts of 
sifted gas-carbon and black per- 
oxide of manganese (M) from the 
size of duck-shot to the size of peas, 
and fill the space between the 
carbon and porous pot to within 4 
in. of the top with it. Then pour 
melted pitch over till level with 
the top, and before the pitch solidi- 
fies, press a knitting needle through 
it in one or two places to allow 
gas to escape. When dry, paint 
all over the top with Brunswick 


74 


black. Place the porous pot in a 
glass or glazed jar (G) which also 
holds a rod of amalgamated zinc 
(Z). Mix 1 part concentrated solu- 
tion of sal-ammoniac with I part soft 
water, and fill up the space between 
the jar and the porous pot with 
this liquid. Cells made on this 
principle are almost invariably used 
for electric bells, or for purposes 
where an intermittent discharge 


ies 
Sole, 


oT 
> 


aang 
STRESS 


ie 


iy 


See 


is required, but the current soon 
drops if they be used for more 
than two or three consecutive 
minutes. The voltage of these 
cells is about 1°4. Dry cells are 
modifications of Leclanché cells, 
the space inside being filled with a 
spongy mass or plaster of Paris, 
in which sal-ammoniac solution 
remains. 

ELECTRO=-PLATE. The cur- 
rent used for depositing metals 
commercially is nearly always 
generated by a dynamo, which 
method is beyond the scope of this 
book. Electric cells can be, how- 
ever, very successfully used, the 
principle being identical, and the 
only difference being that cells are 
rather more costly, and require 
more attention than the dynamo. 
Fig. 1 shows diagrammatically the 
way the cells are connected up. 
[Two cells (D) (D) Daniell cells are 
usually employed, so this cell is 


ELECTRO-PLATE 


drawn] are connected ‘in series”. 
The copper (C) of one cell is connect- 
ed to the zinc (Z) of the other cell 
as shown, leaving a copper and zinc 
free. The free copper plate is con- 
nected by a wire to a ring suspended 
over a bath (P), filled with the 
plating liquid. Attached to this 
ring are sheets of the metal (called 


Fic. 2. 


anodes), which are to be transferred 
electrically as a thin coating on to 
the articles as “plate”. The free 
zinc is connected by a wire to 
another ring, which must be in- 
sulated from the first ring, over. 
the plating bath, and the articles 
to be plated are suspended from it. 
If a variable resistance (R), such 


ELECTRO-PLATEB 


as a carbon resistance, be placed 
in circuit as shown, it will be found 
exceedingly useful for regulating 
the current, and thus the rate of 
plating. After the article has be- 
come thinly plated, connect the 
cells in parallel, as shown in Fig. 
2. Large Daniell cells of the same 
size are usually employed for de- 
positing copper from its sulphate 
solution, and for silver plating ; 
Bunsen cells for depositing copper 
from its alkaline solution, and for 
nickel plating. If electric light be 
laid on to the house, the current 
may be taken from the mains, regu- 
- lating the amount taken by placing 
lamps of different sizes in series in 
the circuit, and by this means cells 
done away with. The cells should 
be tested with a voltmeter every 
few hours, and if the cell has ceased 
to act, it should be taken to pieces, 
and thoroughly washed. The zincs 
should be removed from the cell 
when it is not in use. To make 
the plating bath, make two rings 
of 3; in. copper wire, and support 
them from the edge of a large 
cylindrical glazed jar. These two 
rings of copper wire must nowhere 
touch, nor have any electrical con- 
tact. It will as a rule be found 
most convenient to hang up the 
articles to be plated on the outer 
circle, and the anodes, or the metal 
to be deposited on the articles, on 
the inner circle of wire. The 
plating bath liquid is contained in 
this jar, and the articles to be plated 
must be completely immersed. 
Absolute cleanliness in making and 
keeping the plating liquids, and in 
keeping the plates, is essential. 
The articles to be plated should 
first be thoroughly cleaned as 
follows, but they should not be 
pickled longer than necessary, and 
the processes and then the plating 
must succeed each other im- 
mediately. 

Copper and its Alloys: Boil 1 Ib. 
caustic potash in 1 gal. soft water, 


75 


brush the article, and then immerse 
it in the hot pickle for a few 
minutes. This solution attacks 
solder, so great care must be exer- 
cised if soldered articles be im- 
mersed in it. Rinse in running 
water. It will then be seen if the 
article be much oxidised, and if 
this be so, pickle it in a solution of 
1 pt. sulphuric acid in 1 gal. soft 
water, until the dark parts vanish. 
Rinse in running water again, and 
then immerse in a solution of 1 oz. 
cyanide of potassium in 1 gal. water. 
Remove from the bath, and rub 
over with a scratch brush and 
pumice powder dampened with the 
potassium solution. Dip again in 
the potassium bath for a few 
seconds; rinse in running water, 
and transfer to the plating bath. 
If the article is to be gold or silver 
plated, immerse it for a few seconds 
in a mixture of 1# oz. mercuric 
nitrate in 14 oz. sulphuric acid and 
1 gal. water. Then rinse, and place 
it immediately in the plating bath. 
If the articles to be gold or silver 
plated be free from any soft soldered 
joints, dip them in nitric acid fora 
few seconds till green; dry in hot 
sawdust and then place in the 
mercuric nitrate solution. To ob- 
tain a dead lustre, mix 2 lb. nitric 
acid (36°) with 1 lb. sulphuric acid 
(66°), $ oz. zinc sulphate and 3 oz. 
salt. Immerse the article till 
slightly pitted; then rinse in run- 
ning water, and then in the 
potassium bath. Rinse again, and 
plate. 

Iron: Dip in a hot solution of 
potash in the same way as Copper. 
Rinse in running water, and then 
immerse in an acid bath, contain- 
ing 1 per cent. sulphuric acid, for 
a few hours. Then rub with a 
scratch brush and pumice powder 
dampened with the acid; immerse 
again in the acid for a short time ; 
rinse in running water and plate. 
Iron takes copper plate best, so 
that it should first be very lightly 


76 


plated with copper, and then plated 
with silver or nickel. 

Steel: Dip in the potash solution ; 
rinse, and scour with a scratch 
brush and pumice powder as for 
Copper. Then immerse for a short 
time in a mixture of 1 lb. hydro- 
chloric acid in 1 qt. soft water; 
rinse, and then plate. Steel should 
be first copper plated as in the case 
of iron. 

Zinc, Tin, Lead, etc.: Dip fora 
few seconds ina potash solution ; 
rinse, and immerse in a solution of 
1 part sulphuric acid in 10 parts soft 
water for a few minutes. Then rub 
with a scratch brush and pumice 
powder dampened with the dilute 
acid; rinse and plate. In the 
case of lead the acid bath may be 
omitted. First coat with copper as 
in the case of ivon. If an article is 
to be replated, the old plate must be 
stripped off by emery cloth, acid or 
by some other suitable method, and 
then cleaned, and treated as a new 
article. A good way is (a) place 2 
parts water in a stoneware or lead 
jar,and slowly add 8 parts sulph- 
utic acid, stirring all the time with 
a glass or vulcanite rod. Then add 
2 parts commercial nitric acid, and 
thoroughly mix. (b) Dissolve 1 lb. 
caustic potash in 1 gal. soft water. 
Rinse the article in (6); then in 
water, andthenin(a). Keep lifting 
the article out of (a), and immedi- 
ately the plate is stripped off, rinse 
in hot water, and then dry in box- 
wood sawdust. Do not strip the 
plate off by reversing the current 
in the plating bath, for the plating 
bath will then be most probably 
spoilt. Ifthe articles to be plated 
are bright, the plate as a rule will 
be bright; if rough, the plate will 
appear dead. To take metallic 
impressions from an article, dust 
the side to be copied over with 
black lead, and smear the other 
side with grease. Hang it up in the 
plating bath, and plate in the 
ordinary way, and when thick 


ELECTRO-PLATE 


enough, the plate may be readily 
removed from the article, and an 
exact inverse image obtained. Re-. 
peat the operation on this ‘half 
mould, and an exact reproduction 
of one side of the original will be 
obtained. 

ELECTRO-PLATE: COPPER. 
The articles to be copper-plated 
should be thoroughly cleaned and 
pickled [see ELECTRO-PLATE], but 
no interval of time should elapse 
between the various processes. To 
make the bath dissolve 1 lb. copper 
sulphate in 2 qts. hot strained rain 
water, and set aside to cool. Then 
add liquid ammonia slowly, and 
stir with a piece of wood. A green 
precipitate will at first fall in the 
form of mud, but on the addition of 
more ammonia it will begin to re- 
dissolve. Add ammonia till this 
precipitate is all just dissolved, and 
a clear blue liquid is formed. Then 
add a solution of cyanide of potas- 
sium in water to it, till it assumes 
the colour of good heavy ale. Try 
by experiment if this bath plates 
satisfactorily, and if not add more 
water. Use electrically plated 
anodes, such as the coppers from 
old Daniell cells, or copper that is 
absolutely pure, and havea slightly 
larger area of anode than area to 
be plated. Only a very thin film is 
required on iron, etc., as a founda- 
tion for nickel- or silver-plate. 
When this film has been plated, 
brush all over with a scratch brush 
to see if it adheres firmly all over. 
If some pieces flake off, scour these 
parts with whiting and water, 
rinse, and replate, placing an 
anode close to each bare patch. 
When the plating is good, rinse, 
and place it in the nickel- or siiver- 
plating bath immediately; or the 
copper-piating may be first burn- 
ished, then dipped in a solution of 
1 oz, cyanide of potassium in 1 
gal. water, rinsed, and then placed 
in the silver- or nickel-plating 
bath, 


ELECTRO-PLATE 


ELECTRO-PLATE: NICKEL. 
Commence with two 2 gal. Bunsen 
cells in series, and after a thin coat- 
ing of nickel has been plated, work 
the cellsin parallel. Ifthe article 
to be plated has been washed in an 
acid or potash bath, great care 
must be taken torinse it thoroughly 
before introducing it into the nickel- 
plating bath. If the article to be 
plated be previously burnished, the 
plate will only need buffing at the 
end; but in no case should the 
scratch brush be used. To make 
the bath: (1) Dissolve commercial 
nickel in nitric acid, and pass a 
stream of sulphuretted hydrogen 
through to throw down impurities. 
Filter, and then throw down a 
precipitate with carbonate of soda. 
Thoroughly wash the precipitate 
thus formed (carbonate of nickel), 
and then dissolve it in dilute sul- 
phuric acid. Place this solution 
under a bell jar over concentrated 
sulphuric acid, when dark blue 
crystals will be formed. These 
crystals should be ground up with 
sufficient ammonia todissolve them, 
and the dark blue solution thus 
obtained usedin the bath. Double 
sulphate of nickel and ammonia 
crystals may be bought from any 
electro-plater. They should be of 
a clear sea-green colour. Dissolve 
1 lb. crystals in 1 gal. rainordistilled 
boiling water, and strain; pour 
this liquid into the plating bath, 
and test by experiment if more 
water should be added. This bath 
is nearly always used, and is 
perfectly reliable if clean and good 
materials only be employed. (2) 
Dissolve 1 oz. nitrate of nickel 
in 1 oz. ammonia, and then 
add to this mixture 25 times its 
volume of bisulphide of soda. 
Mix 6 parts sulphate of nickel 
and 3 parts ammonia in 100 parts 
water, and when the nickel is 
dissolved add 20 parts ammonia. 
Use this bath at 100° Fahr. Just 
before an article is transferred 


77 


from the copper to the nickel 
bath, begin to plate some small 
odd piece of werk, so that,immedi- 
ately the article is placed in the 
nickel bath it begins to get plated. 
The surface of the anode should 
be a great deal larger than the 
surface to be plated, but if too 
large the deposit will be in a fine 
black powder. When the article 
has been plated sufficiently, lift it 
out of the bath with wires, quickly 
rinse it in hot water, and dry it 
in hot boxwood sawdust. If the 
plating be good the article when 
lifted out of the bath will appear 
creamy-white, but if poor it will 
appear greyish-white. If the plat- 
ing be poor, add 1 to 2 per cent. 
common salt to the bath and leave 
for 12 hrs. The plated article 
should be finally polished and buffed 
first with leather and tripoli, then 
with a calico mop and rouge 
composition, and then with swan’s 
down and rouge. Iron, steel and 
zinc should have a very thin coat 
of copper before being nickel- 
plated. 

ELECTRO-PLATE: SILVER. 
Commence and continue all through 
with one Daniell cell or more in 
parallel. The surface of the silver 
anodes immersed should be slightly 
larger than the surface of the 
article to be plated. If the anodes 
become pitted, immerse them a little 
deeper, so as to give a larger sur- 
face. (1) The usual bath is made 
from the double cyanide of silver 
and potassium. Dissolve 8 oz. silver 
nitrate in 1 qt. distilled water ina 
glass jar. Dissolve 3 oz. cyanide 
of potassium in 4 pt. distilled water, 
and add it to the silver solution 
drop by drop. A thick and spongy: 
white precipitate will be formed, 
and this precipitate will continue 
growing up toa certain point and 
then begin todissolve again. Im- 
mediately no more precipitateforms 
stop adding the potassium solution. 
The quantities given are approxi- 


78 


mate, and a little more or less than 
4 pint potassium solution may 
have to be added. Note how much 
potassium solution was added, and 
make up some more of the same 
strength and } more than the 
original amount. (For the propor- 
tions given before 33 oz. cyanide of 
potassium dissolved in ;, pt. water.) 
Leave the white precipitate for 
about 4 an hour to settle, and then 
pour off the clear liquid. Fill up 
with distilled water, stir up the 
precipitate and leave it again to 
settle, then pour off the clear liquid 
as before. Repeat this two or three 
times till the precipitate is 
thoroughly washed, and finally 
leave the precipitate as dry as 
possible. Now add the second 
amount of potassium solution, which 
should dissolve all the precipitate, 
and strain through calico. Then 
dilute with distilled water to the 
required strength, which is best 
found byexperiment. Ifthe anodes 
become slimy or dull add more 
potassium solution. (2) Dissolve 
3 or 4 oz. cyanide of potassium in 1 
gal. soft water, and pour it into the 
plating bath. Hang up the silver 
anodes and connect them to the 
positive pole of the battery, and 
connect a thin sheet of brass to 
the negative pole and hang it up 
inthe bath. After some considerable 
time the brass will begin to be 
plated and the bath is then made. 
(3) Dissolve 1 oz. silver in nitric 
acid, and then evaporate till 
crystals begin to form; then mix 
with 3 pts. distilled water, and add 
a solution of caustic potash till no 
more precipitate isformed. Wash 
this precipitate as explained in No. 
1, and then mix it with 3 lb. yellow 
prussiate of potash in 1 gal. soft 
water, and warm till dissolved. 
Finally leave to cool, and filter 
through calico. The plated articles 
may be scratch brushed, though 
this should not be necessary if the 
article be first thoroughly polished, 


ELECTRO-PLATE— 


EMERY WHEELS 


and then polished with leather in 
the same way as_ nickel-plate 
[See ELECTRO-PLATE (NICKEL)] To 
plate cups, first silver-plate all over 
and thoroughlydry. Then fillup to 
the brim with gold solution (which 
is best bought) ; hang a gold anode 
up in the liquid, and connect one 
wire from the battery to it and the 
other wire to the stem of the bowl. 

ELECTRO-PLATE: TIN. To 
make the plating bath, dissolve 12 
oz. potassium pyrophosphate and 
44 oz. protochloride of tin in 20 oz. 
water. The plated article may be 
finished with the scratch brush. 
[See also TINNING] 

EMBROIDERY PATTERNS: 
HOW TO COPY. (1) Copy the 
pattern on paper, or trace on 
tracing-paper and prick through 
the lines. Mix 3 parts finely- 
powdered charcoal and | part resin. 
Tie up in muslin, place the pricked 
pattern over the fabric, and shake 
the muslin bag over it. Remove 
the pattern, and the dots will out- 
line the pattern. Cover these dots 
carefully with blotting-paper, and 
iron to fix. If the cloth be black 
use chalk instead of charcoal. (2) 
Mix finely-powdered sealing wax in 
alcohol till it will not dissolve any 
more, and bottle it up. Dip a pen 
in this liquid, trace the pattern off 
on tracing-paper, and leave it to 
dry. Put the tracing-paper, marked 
side down, on to the cloth and iron. 
The sealing wax will melt and stick 
on the cloth. 

EMERY WHEELS, TRUE: 
HOW TO MAKE. If a wheel 
be dished, place it in a hot oven, 
or on a hot slab till it becomes 
thoroughly flexible. Then place it 
on a flat slab, convex side upwards, 
and weight it down in the centre. 
Test if it be flat with a straight 
edge, and if not, place another slab 
on the top, and press it down. © 
When flat, fix it on a lathe while 
still flexible, and rotate it till cold 
and hard. 


ENAMEL CYCLES—ETCH METALS 


ENAMEL CYCLES, ETC.: 
HOW TO. Take the machine to 
pieces, so that the frame, front forks 
and wheels are separate, and detach 
the handle-bars, brake, seat-pillar 
and cranks. Scrape off all the old 
enamel if the machine is being re- 
enamelled, and insert wooden plugs 
into the tube holes, so that the 
parts can be lifted by them without 
touching the parts with the hands ; 
the plugs also prevent the enamel 
trickling down into ball races. 
Polish with fine emery cloth, then 
with pumice powder and water on 
a flannel and then dry thoroughly. 
Apply a coat of quick-drying enamel 
with a camel-hair brush, working 
the brush only in one direction. 
Place the parts upside down to dry, 
so that any dust which may fall on 
it will not affect their appearance 
when placed in their ordinary 
position. When the enamel is 
quite dry, say after 12 hrs., rub 
down lightly with fine well-worn 
emery cloth, remove the dust, and 
apply a second coat of enamel as 
before. Dry as before, then rub 
down very lightly, dust and apply a 
third coat. Leave this coat say 
24 hrs. to dry, and then rub down 
with powdered pumice stone and 
water on a flannel. When of a 
uniformly dull appearance, wash off 
the pumice, dampen a piece of 
flannel with olive oil and rotten 
stone or tripoli, and rub lightly till 
the surface begins to come up. 
Then rub with soft silk and dry 


_ rotten stone or tripoli, then with 


silk alone, and finally with the palm 
of the hand. 

ENGRAVINGS: HOW TO 
CLEAN. Soak the engravings in 
a clear, weak solution of chloride 
of lime till white, and then soak 
them in running water. Steep for 
4 hr. in a weak solution of hypo- 
sulphite of soda, and then dry 
between white blotting-paper under 
pressure. 

ETCH GLASS: HOWTO. The 


2 


79 


process of etching glass is precisely 
that followed in etching metals 
[see EtcH METALS (How TO0)], the 
difference being in the inks and 
the grounds. The etching ground, 
sometimes called “resist,” should 
be of a more greasy texture than 
that used for metals. To make the 
ground: (1) Boil in a glue-pot 1 
lb. beeswax, and #2? lb. Russian 
tallow. (2) Boil in a glue-pot 4 Ib. 
beeswax, 4 lb. Russian tallow and 
1 lb. Japan wax. (3) Boil in a glue- 
pot 5 oz. beeswax, 1 lb. Russian 
tallow, 1 lb. Japan wax and 8 oz. 
Burgundy pitch. Make the glass 
so hot that it can only just be held 
in the hand; then dip it in the 
molten ground, and set it up on 
one edge for the ground to drain 
off, and solidify. 

To make the ink. (1) Hydro- 
fluoric acid. This is almost always 
used. If the hydrofluoric acid be 
run out intoa flat lead dish, and the 
glass placed as near to it as possible, 
and exposed to its fumes, the un- 
protected portions will become 
frosted, appearing like ground glass. 
Shaded glass may be obtained by 
protecting it with coatings more or 
less impervious to the fumes. Ifthe 
glass be placed in the acid it 
will be cut clean. (2) Mix 3 parts 
barium sulphate and 1 part am- 
monium fluoride in enough acid to 
bring it to a thick fluidink. These 
inks must be kept in lead or gutta 
percha receptacles. 

ETCH METALS: HOW TO. 
A few scribers are necessary, made 
from spring steel ; in. diameter, 
sharpened to long sharp points, 
and the points then rounded off to 
varying degrees of bluntness, the 
finest being just so fine that it will 
not catch in the metal to be etched. 
Prepare one or two similar scribers 
from ivory. A shade should also 
be made by bending a piece of No. 
10 B.W.G. brass wire 3 ft. long 
into a circular form which should 
then be fixed into a small wooden 


80 


stand, and covered with tissue 
paper. 

To make the etching ground: 
(1) Melt 1 oz. virgin wax in an iron 
pot over a slow fire, and then add 
4 oz. Burgundy pitch ; when mixed, 
add 1 oz. finely-pulverised asphal- 
tum gradually, and then pour out 
to solidify in moulds. (2) Beeswax. 
(3) Paraffin wax. 

To make the etching ink: Copper 
and its Alloys: (1) Mix 1 part nitric 
acid pure or with 1 to 3 parts water. 
This ink is usually employed, but 
hydrochloric or sulphuric acid is oc- 
casionally substituted for the nitric 
acid. (2) Dissolve 3 oz. potassium 
bichromate in 1 lb. hot water, and 
then add 4 oz. sulphuric acid. 
This etches sharper lines than the 
nitric acid, but takes longer. (3) 
Mix 5 oz. concentrated hydrochloric 
acid in 22 lb. warm water, and then 
dissolve in it 1 oz. chlorate of 
potash. 

Iron and Steel: Mix equal parts 
sodic chloride and sulphate of 
copper. This ink will fake 24 hrs. 
to etch hard steel, and a shorter 
time for soft steel or iron. 

Zinc: Mix 1 part sulphuric acid 
with 10 parts water. 

Clean the metal with fine emery 
cloth, and then with whiting and 
leather. Dip it in dilute acid, when 
it should turn dark all over, but 
if some places remain bright, these 
places are greasy, and they should 
be cleaned. The metal, being now 
free from grease, should be washed 
in running water, and dried. (1) 
Heat the metal sufficiently to melt 
one of the waxes; press the wax 
on, and spread it evenly over with 
a camel-hair brush; then place the 
metal on its edge for the wax to 
drain off and solidify. When dry, 
set the metal down on a flat sur- 
face, waxed side up; set the tissue 
shade in front, and draw in the 
design with the steel scribers, 
using the thick and thin points as 
required, and brushing off the 


ETCH METALS 


particles of dust as they are formed 
with a small soft paint brush. If 
the design is to be traced, use the 
pitch, wax and asphaltum ground 
No. 1. Rub the back of the paper 
on which the design is printed with 
powdered chalk; lay the paper, 
chalk side down, on the etching 
ground, and go over it with an 
ivory scriber. The design will 
then be found marked in white on 
the dark ground, and the steel 
scribers are then used as before. 
If the design be fairly small, the 
ink may be dropped on; but if it 
be big, walls of wax or asphaltum 
varnish should be built up round 
the edge, and the ink flooded all 
over the surface. When the lightest 
lines are etched deep enough, pour 
off the ink, and rinse the metal in 
water carefully; then paint over 
these lines with a stopping of © 
lampblack and Venetian turpen- 
tine, and then flood with ink again, 
so that the exposed lines are etched 
deeper. This may be repeated 
over and over again, painting over 
a portion of the lines each time 
to get varying depths of etching. 
Then wash thoroughly, and remove 
the ground with turpentine. (2) 
Another method not so commonly 
employed is as follows: Mix 5 
parts saturated solution of beeswax 
in turpentine, and then add 1 part 
Japan varnish for the ground. 
Apply a coat of this to the cleaned 
metal, and leave it to dry for 12 
hrs. Apply another coat, and while 
still wet smoke it by holding tapers 
underneath, and then allow it to 
dry. Then scratch those parts 
first which are to be etched deepest 
with the scribers, and immerse in 
the ink for 14 hrs. Then scratch 
the next deepest lines and immerse 
for 1 hr. Then scratch the next 
lines and immerse again; and soon 
till the full designisin. (3) To etch 
a frosted background with plain 
design: Dissolve resin in alcohol, 
dip the metal to be etched into it, 


\ 


oF 
a aa 
<7 (a 


PEATHER-BEDS—FENCE (BOARD) 


and hang up to drain and dry. On 
drying, the resin will crack up into 
numerous minute fissures. Paint 
the design over the resin crystals 
with Brunswick black, and when 
the paint is dry, flood with the 
ink. The acid will eat in between 
the small crystals, and give the 
background a very good frosted 
appearance. The design may be 
partially etched by two applica- 
tions of ink, painting the design in 
between. 

Instead of this method, steel or 
iron may be frosted direct by im- 
mersion in one of the following, 
the design having been previously 
painted in with Brunswick black, 
varnish, wax or tallow: (1) Mix 1 
part concentrated nitric acid and 
1 part water. This gives a good, 
but not very permanent frost. (2) 
Mix 1 part concentrated nitric acid, 
2 parts acetic acid and 3 parts 
water. This gives a more per- 
manent frost than No, 1, but has 
not quite such a good appearance 
_at first. (3) Mix 1 oz. sulphate of 
copper, 4 oz. alum, 1 teaspoonful of 
salt, 4 to 8 oz. vinegar and 30 drops 
nitric acid. This ink makes a very 
permanent background, and it can 
be varied by adding more or less 
vinegar. 


81 


the feathers more than necessary. 
Then sprinkle 2 to 4 pails of water 
over with a watering-pot. Dry in 
the sun, and shake frequently. A 
spring shower is a very good 
renovator. (3) If fairly thin, im- 
merse the bed in hot water, and 
clean. The bed must be frequently 
shaken and stirred to prevent mil- 
dew. To empty the tick of the 
feathers and then wash is very 
rarely necessary. 
FEATHERS: HOW TO 
CLEAN. To clean feathers, 
dissolve 4 oz. white soap in 2 qts. 
hot water, and immerse the feathers 
for a few minutes; then remove 
them by holding the quill with one 
hand and drawing the feather 
through the other hand over and 
over again till the feather appears 
clean. If the feathers be rather 
yellow, add washing blue to the 
suds. Place the feathers lightly in 
a cardboard box in front of a fire, 
and shake the box occasionally 
whilst they are drying. If the 
fronds are to be curled, just before 
they dry draw them over the edge 
of an ivory paper-knife, pressing 
them down gently with the thumb. 
FENCE: BOARD. (1) The 
boards should be nailed on to the 
posts so that they break joints, as 


FEATHER-BEDS: HOW TO 
CLEAN. (1) For beds which only 
have occasional use, give a thorough 
beating and airing on a warm, 
sunny day. (2) For ordinary wear, 
take out on the grass, and wash 
over with hot suds, without wetting 


Cut the 
and nail 


shown in the illustration. 
boards about 6 in. wide, 
the lowest about 3 or 4 in. from 


the ground. If the fence is to be 
exceptionally high, the top tiers 
may be made of wire. [See FENCE 
(WiRE)] (2). The bottom board 


82 


may be nailed on 15 in. above the 
ground; then two furrows thrown 
towards the fence on either side, 
the first against the fence, the 
' second furrow thrown on the top 
of the first, which will raise a bank 
nearly to the bottom board. 
FENCE: BRUSH. Space the 
stakes 3 or4 ft. apart. Have them 
6 ft. long, and drive 1 ft. into the 
ground when it is wet. Use brush 
cut from trees, or better still, hedge 
toppings. Build up at the starting- 
point, then set the brush, heeled 
in, at an angle of 45°, and keep that 
angle all along, making no change 
when passing stakes. Straddle the 
stakes with cross laps and brading, 
and carry to the desired height. Top 
the brush once every three years. 


Fia. 2. 


FENCE: FIELD. Cut lengths 
of 1 in. wood 4 in. x 8 ft. Cut the 


Fia. 1. 


4 
a. ie 
Ln 

v 
a) 
iT) 


posts from 3 in. wood 4 in. x 6 ft., 
and mortise out three holes 1 in. x 


FENCE (BRUSH)—FENCE (HURDLE) 


4 in. for the rails. The rails are 
cut slanting at the ends, so that 
when two ends are driven into one 
mortise from opposite directions 
they are wedged in. A support 1 
in. x 3 in. x 5 ft. is sometimes 
nailed on in the middle, as shown 
in the illustration. 

FENCE: HILL-SIDE. In 
making a board or similar fence up 
the side of a hill, begin at the 
bottom, and nail the boards to the 
posts, placing the end of the first 
board under the end of the second 
in each tier, so that each separate 
board is as horizontal as possible. 

FENCE: HURDLE. (1) Cut 
3 boards 1 in. x 6 in. x 12 ft. 
for each section. For the cleats or 
uprights cut boards 1 in. x 6 in. x 


Fia. 3. 


Nail one of the uprights in 
the middle, and one 8 in. from each 


4 ft. 


end of the boards. When the 
sections are set up, the ends should 
lap by each other, and the sections 
should be held together by driving 
cross stakes [see FENCE- STAKES] 
between the top and middle 
boards, where two sections lap, as 
shown in Figs. 2 and 3. (2) For 
sheep pens have the supports from 
the outside alone. Use one brace 
only, and cut a notch in it as shown 
in Fig. 1. Drive in a large staple 
about 6 in. from the bottom. Slip 
the notch in the brace over the top 


PENCE (MARSHY LAND)—FENCE (PORTABLE) 83 


overlapping boards of two sections, 
and drive a stake through the 
staple. Drive two stakes on either 
side of the lowest board in each 
section where they lap. 

FENCE: MARSHY LAND. 
Where liable to floods, build a 
board fence [see FENCE (BOARD)], 
and brace from the posts as 
shown. About 3 ft. behind the 
posts drive in stakes; let them be 
1 ft. above the ground, and spike 
braces from them to the posts. If 


the ground be swampy, set the post 
while very wet. Sharpen the lower 
ends of the posts, thrust them in as 
far as possible, work sideways, lift 
and force down again till far 
enough in, then pack round on the 
surface. 

FENCE: PICKET. Set the 
posts in the ground 6 ft. apart; 
spike a scantling 2in. x 4in. on to 
the tops of the posts, and let it pro- 
ject 4 in. beyond the front surface. 
12 in. from the ground let another 
scantling into the posts sunk 14 in., 


off the top of the pickets level. If 
there be a gradual swell, the pickets 
should be cut to length before nail- 
ing on. 

FENCE: POLE. The pole 
fence can be made of poles, either 
whole, halved or quartered, depend- 
ing on the thickness. Build up at 
the starting-point to the height 


required, and then rest poles on 
crossed stakes, driving one end 
into the ground, as shown in the 


illustration. Nail in place, and 
clinch the nails. 
FENCE: PORTABLE. For 


the rails or scantling use 3in. x 3 
in. deal. Saw off two lengths for 
each section say 9 or 10 ft. long. 
At each end of each rail punch 
holes, and screw on wide hoop iron 


bent U-shape. For pickets use 

or 4 in. deal 3 in. wide. Nail onas 
illustrated, varying the rails on 
every other length, so that the 
picket, when in position, will rest 


Saw 
lengths of 1g in. x_1} in. pine for the 


so that it also projects 3 in. 


pickets. Space 3 in. gap, and let 
them reach to within 3 in. of the 
ground. Nail with heavy wrought 
ironnails. Ifthe ground be uneven 
with small knolls and hollows, saw 


on the ground. Drive a stake 
about 2 in. square through the 
U-shaped hoop irons, as illustrated. 
To brace take a piece of 3 in. square 
deal, long enough to make a brace 
at 45°, and put on each end a U- 
shaped band, as on the rails, but 


84 


only using one screw on each side, 
so that the band will turn on the 
brace. Slip one of the bands over 
the stake, and through the other 


end drive a stake into the ground. 
Cut the ends of the brace bevelling, 
so as to lie flush with the two 
stakes. [See also FENCE (HURDLE)] 

FENCE~-POSTS. The best 
posts are made from close-grained 
oak, or similar wood, cut while 
green, and well seasoned. If the 
wood be green do not paint it, but 
slightly char it, or tar the portion 
that will be in the ground, and 
about 6 in. above only. If the 
wood be seasoned, tar the post 
all over, and soak the end that will 
be in the ground in a kettle of tar. 
Some always set the posts in the 
ground top downwards, 1.¢., the 
root end of the log in the air, and 
the branch endin the ground. This 
is an advantage if the wood be 
unseasoned, but does not affect 
thoroughly well-seasoned wood. 
To prevent the posts sagging cut 
beams of oak about 4in. x 6 in. x 
3ft.6in. Cut a gain in the centre 
of each beam, the thickness of the 
post, and about 2in. deep. Taper 
the bottom of the post slightly, and 
drive the beam on to it, then nail 
firmly in place. The posts should 
be set up so that the cross beams 
are at right angles to the line of 
fence. To remove old posts, hitch 
one end of a suitable chain to a 


FENCE-POSTS—FENCE (REPAIRS) 


team, and fix the other end on to 
the bottom of the post. A few 
feet away from the post put a prop 
leaning towards it, and pass the 


chain over; then let the team 
draw. 

FENCE-RAIL. If rails be 
scarce, back-furrow a ridge 4 ft. 
wide upon the fence line. Set 
stakes in pairs 10 ft. apart and lay 
rails between. Hold the stakes by 
caps or pins at the top. 

FENCE: REPAIRS OF. 
Where the nail holes have rotted 
large, draw out the nail, plug up 
the hole with wood and drive a new 
nail in another place. If the posts 
have rotted below the ground, saw 
off all the decayed wood. 4 in. 
from the end saw down # in. deep 
square acrossone face. Cut off the 
piece partially separated, thus form 
ing a half mortise, and nail into this 
a piece of 1 in. oak board 6 in. wide 
x 8 ft. 6 in. long, letting it project 
equally on both sides of the post. 
When the post is set upright, it 
rests on the edge of the board let 
in and is like an inverted T. Set 
it up between two sound posts, the 
oak board being let into the ground 
at right angles to the line of fence. 
If the posts have rotted through on 
the ground level, or below, drive in 
a 4in. x 4 in. stake close up 
against the post till 1 ft. remains 
above the ground. Split down to 
the ground level and saw off the 


FPENCE-STAKES—FPENCE (WIRE) 


half nearest the post, then nail the 
post in the gapthus formed. When 
the ground is wet, straighten up 
the posts with braces. Stamp the 
earth well down, and do not remove 
the braces till the ground is dry. 

FENCE-STAKES. Use 
branches about 4 or 5 in. diameter, 
or well-seasoned hard boards 4 in. 
x 4in. Make them 2 ft. longer than 
is necessary, and when they begin 
to decay at the surface of the 
ground, drive them in a few inches, 
To sharpen, put crossed stakes over 

astumpand pin them down to the 
ground. Lay the stake to be sharp- 
ened between them, and cut on toa 
cutting block. A crotched branch 
may be substituted for the crossed 
stakes. 

FENCE: WIRE. Set the end 
post in the ground with a 2 or 3 in. 
oak pin through it near the bottom, 
projecting about 2 ft. in the line of 
the fence. If it projects under the 
fence, a solid bed must be made for 
it to rest on; if it projects away 
from the fence, heavy stones must 


85 


end on to a hand-spike, stick the 
end of the hand-spike into the 
ground and lever the wire by 
pulling on the top end of the hand- 
spike. To strain the wire either of 
the two devices illustrated are 
good. Fig. 1 will strain about 80 
rods of wire, 40 rods on each side. 
Fig. 2 will put on any tension 
required, and the length it will 
strain depends partly on the length 
of the bolt. To use this, splice the 
wire temporarily on the hook as 
tightly as possible with the nut on 
the end of the screw, screw down 
the nut, and if the wire be too slack 
jump on it between the posts, it 
will then be very slack. Screw the 
nut to the end, undo the splicing, 
rebind the wire, and then screw up 
again. Repeat this till the wire is 
tight enough. (1) To make the 
strainer as in Fig. 1, bend 3 ft. of 
No. 8 B.W.G. wire round, lap the 
ends 2 in., twist them together, and 


bend the ends back. Flatten down « 


the wire till the sides are about 3 
in. apart, take the two ends and 


Fro. 1. 


be put on the top. The post must 
also be well braced with wire stays 
set at an angle of 45°. To keep 
sheep, etc. in, set the posts about 
16 ft. apart, and bore # in. holes for 
the wires to run through. For 
cattle run 5 rows of wire 8 in. apart, 
for sheep, 7 rows 6 in. apart, or the 
top 2 rows may be 8 in. apart. 
Unroll the coil of wire and draw 
through from the first post. When 
it has come to an end splice on 


another roll, and so on till about 40 | 


rods have been unrolled, then splice 
the end to the first post and strain. 


To take the kinks out, loop the free | slacking out, 


Fia. 2, 
bend the middle over a 2 in. stick 


making a sort of clevis. Make a 2 
in. hardwood pin to work in the 
two loops, and shape the end to 
put awrenchon. Bore a tin. hole 
through the middle of the pin to 
run the wire through. Bore a 2in. 
hole about 14 in. away from this, 
and drive in a # in. rod 10 in. long, 
Splice one wire on the clevis, and 
pass the other end through the $ in. 
hole and fix there. Twist the pin 
round with the wrench, and when 
tight enough, lash the ? in. rod on 
to the wire to keep the wire from 
and take off the 


86 


wrench. (2) The strainer as shown 
in Fig. 2 should be made from 4 in. 
to # in. wrought iron, or mild steel. 
Bend the end to a hook, and screw 
the shank down with a stock and 
dyes. Puta big washer between the 
post and the nut. An ordinary long 
bolt can be used by chipping the 
head off flush with the pin on one 
side, so that the wire is not bent at 
a sharp angle when bound on. A 
tommy bar must be placed in the 
hook, when turning the nut to 
prevent the wire being twisted. 
(3) Another form of strainer is one 
on the principle of violin pegs. A 
bar of 1 in. iron is driven tightly 
through the post; the wire is fixed 
to one end, and the other end is 
turned bya wrench. The pin must 
be such a tight fit that the tension 
of the wire will not twist it round. 
To splice, lap the two ends 10 in., 
and twist together; then loop the 
ends back to prevent them drawing. 


» Before cold weather all strainers 


should be slacked out a little. Stays 
must be attached to every post, to 
which one end of the wire is rigidly 
fixed. 

FERNERY. Use a box7 in. to8 
in. broad x 8in.to10in. long x 4in. 
deep. Into this slip four sheets of 
glass the size of the inside of the 
sides; crowd the earth well in, to 
keep the glass well in place; or they 
may be cemented in. [See CEMENT 
(AQUARIUM)] Place a sheet of glass 
on the top, slightly larger than the 
box. It is an improvement to have 
a zinc pan that will fit into the box 
after the glass is in. To make a 
better case, make after the style of 
an aquarium [see AQUARIUM], and 
cover with a sheet of glass let into 
the cap pieces. Cover the bottom 
with charcoal, then 2 in. best leaf 
mould, and a few broken pieces of 
flower-pots. 

FILE: HOW TO CLEAN. 
For ordinary work in metal clean 
the file with a file card or scratch 
brush. Before filing mild steel rub 


FERNERY—FILE PAPERS 


the surface of the file with chalk, 
If clogged with lead or white-metal, 
rub along the cross-cuts with the 
end of a piece of wood. For wood 
files or rasps, damp the rasp and 
rub along the cuts with a piece of 
wood, using the end of the grain. 
Another way is to rub the rasp 
briskly, in line with the cuts, over 
a piece of woollen cloth drawn tight. 

FILE: HOW TO KEEP. New 
files should be kept in sperm oil 
till required for use. 

FILE, HOW TO RESHARPEN. 
If the file be badly worn, the 
only way is to have it recut ; ifonly 
slightly worn it may be greatly 
improved by treating it with acids. 
(1) Mix 1 oz. sulphuric acid with 1 
pt. water. Remove all grease from 
the file, immerse it in the acid, and 
leave it there till sharp; then rinse 
and dry. (2) Remove all grease 
from the file. Mix 1 part nitric acid 
to 8 parts water, and immerse the 
file for 25 mins. Add1 part more 
nitric acid, brush the file under 
clean water, and then immerse it in 
the acid for 25 mins.more. Brush 
the file again under water. Add 4 
part sulphuric acid to the solution, 
immerse the file for 3 mins., wash, 
and immerse again for 5 mins., 
keeping the solution in motion all 
the time. Wash the files, dry them, 
and then dip them in oil. 

FILE PAPERS: HOW TO. 
Cut two pieces of cardboard, 
slightly larger than the journals. 
Bind them at the back with stout 
canvas, or thin leather, and leave it 
deep enough to accommodate 26 
weekly, or 12 monthly, numbers, 3 
in. from the ends, and fin. from the 
edge of the cardboard next to the 
back, punch holes large enough to 
admit a shoe string. Punch holes in 
the journals to correspond, and tie 
in over the back. If it be required 
to permanently fix the papers to- 
gether, cut two strips of tin, and 
punch three or four holes through 
both. Place them on each side of 


FILTER—PISH POND 


the papers along the back edges, 
bore holes through the papers, push 
pins through, and lightly rivet. 
[See also BOOK-BINDING] 

FILTER: CHARCOAL. Break 
up very small 10 parts coke, 20 
parts wood charcoal, 30 parts 
animal charcoal, and mix with 40 
parts short asbestos. Then mix 
with an equal weight of treacle, 
mould it into the required shape, 
and bake. When hard, soak it in 
dilute hydrochloric acid, wash, dry, 
and bake again. 

FILTER: OIL- AND JELLY-. 
(1) Filter through a felted wool-bag. 
(2) Fit a lining made of a double 
thickness of flannel to a colander. 
(3) Pour the oil into a bottle, and 
then fit in a plug of white knitting 
wool as a cork. Turn the bottle 
upside down, and leave it to filter. 
[See also FILTER (CHARCOAL) ] 

FILTER-PAPER. Cuta piece 
of blotting-paper in a circle and 
fold it both ways across at right 
angles. It will then be made 
cupping when opened. Place it 
in a funnel, and pour the liquid 
through. Filter-papers, which are 
better than blotting-paper, can be 
bought at druggists. 

FILTER: WATER- (1) Near 
the bottom on one side of a sound 
sweet barrel bore a 1 in. hole. 
Insert a piece of gas-pipe 12 in. 
long (about 10 in, on the inside), 
and bend it upward in the cask. 
Into the outside end of the pipe fix 
a faucet. Wash 1 bushel of sand 
and small gravel till the water re- 
mains clear; mix it with one bushel 
charcoal [see FILTER (CHARCOAL)], 
and ram it down tightly in the 
barrel. Take a 2 qt. tin vessel, 
the shape of a garden flower-pot, 
and put it on the top of the sand 
and charcoal over the end of the 
pipe, mouth downwards. Fit a + 
or $in. tube into the bottom of the 
tin with cement, to admit air. Fill 
up the barrel # full with coal and 
gravel mixed, and place thin flat 


87 


stones (not limestones) on the top. 
This filter is suitable for soft water 
only, and will last about one year. 
(2) Use an earthenware flower-pot 
about 9 in. diameter x 10 in. deep. 
Stop the drain hole with a piece of 
sponge. First put in 2in. charcoal; 
next 3 in. fine sand; next 3 in. 
coarse gravel. Set it over an 
earthen jar, and let water drip on 
tothe gravel slowly. (8) Use a 
wooden pail not painted on the 
inside, bore a hole in the bottom, 
and cover the bottom with flannel. 
First putin coarsely-powderedchar- 
coal; next a layer of coarse river 
sand ; next powdered limestone. Set 
it over a jar, and let water drip into 
the pail slowly. 

FILTER: WINE-. Ifthe wine 
be thick from sediment, put a wad 
of cotton into a funnel, and pour it 
through. If this does not answer, 
try FILTER-PAPER. 

FIRE-BRICK : SUBSTITUTE 
FOR. Till new fire-bricks can be 
obtained, mix | part salt and 2 parts 
ashes with water, and apply as a 
cement. It hardens in 4 or 5 hrs. 

FIRE-LIGHTER. Dip wood 
into a mixture of melted resin and 
tar, and leave to dry. 

FISH POND. A pond for fish 
should if possible have fresh water 
running in and out all the year 
round.» A very good pond may be 
constructed over springs which do 
not fail. Ifastream runin one end, 
it is best to have it enter asa small 
waterfall, which, if sufficiently high, 
obviates the necessity of putting a 
grating across to keep the fish from 
working up the stream. Usually 
a dam will have to be formed at 
the farther end of the pond, and 
very often the ground will have to 
be excavated as well. To build the 
dam, first lay up a line of brick 
extending to within 1 or 2 in. of 
the line of the top of the dam. 
Build the earth on each side. Let 
the breadth at the top be equal to 
the height, and the base 3 times as 


88 


broad as the top. Face the sluice- 
way with stoneor brick, and let it 
extend down to the bottom of the 
dam, so that the pond can be 
drained. Use strong iron grids of 
about 4 in. mesh to keep the fish 
in. 
cavating should be used for the 
dam. Any portion not retentive 
should be filled with puddled clay, 
1.é., Clay pounded to a putty with 
water, and thoroughly worked with 
wooden rams with rounded ends. 
This clay filling should be not less 
than 20 in. in thickness. If the 
edges are of loose earth, they should 
be set with large cobble stones, and 
cemented in place. The more 
gravel and clean stones there are 
on the bottom of the pond the 
better. If the dam has to be built 
on quicksand or very loose soil, it 
is best to make it of bundles of 
hemlock and willow. Place the 
body of a tree across the river for 
the brush to rest on, with the tops 
up stream in all cases. When a 
good foundation has been laid, coat 
it with stone, and so on alternately 
till the required height is produced, 
reserving the largest stones and 
the lightest brush for the last 
layers. Make tight with gravel or 
clay, and stick willows every 2 ft. 
through the courses. 
FISHING-LEADS. For sea 
fishing blow the contents 
out of a duck’s egg, or an 
egg of suitable size, bury the 
shell in sand, and then fill 
it up with molten lead. 
Fix the lead to the line by 
boring a hole through it, or 
by suitable hooks, but place 
it, so that when the line is 
pulled through the water, 
the blunt end comes first. 
For fresh-water fishing use 
split shot or lead wire, 
which should be bent witha 
small hook at each end, and 
the line or gut twisted round 
it as shown in the illustration. 


The earth dug out when ex-» 


FISHING-LEADS—PISHING-LINES 


FISHING-LINES: HOW TO 
DRESS. (1) Boil equal parts raw 
linseed oil and best copal varnish, 
out of doors, till the mixture singes 
a feather. When cold immerse the 
line, and let it remain for a week 
if solid plaited; but for a fortnight 
if hollow plaited. Then hang it up 
fairly tightly between two posts in 
a position exposed to the wind, but 
protected from rain, and remove 
all superfluous dressing by squeez- 
ing the line between the thumb 
and finger, and drawing them along 
the line. After a fortnight of warm 


weather the line should be re- 


dipped in the dressing, and the 
operation of stretching and drying 
repeated. After another fortnight, 
take it down, and hang it up in coils 
from a nail in a room for four or 
five months before use. (2) Cut 1 oz. 
best white wax into thin shavings, 
and put them into a pot with 1 gill 
boiled linseed oil; heat gently till 
dissolved. While warm, put inthe 
line, and leave for about 2 hrs., the 
dressing remaining just liquid, but 
not too hot, all the time. Then take 
it out, stretch it, remove the super- 
fluous dressing, and hang it up to 
dry as for No. 1. After a fortnight, 
saturate a piece of flannel with 
vaseline, and run the line through 
the flannel. Hang the line up to 
dry |again, and when dry, give 
another coat of vaseline. (3) Mix 
} pt. double boiled linseed oil with 
1 oz. gold size, and treat the line 
with this dressing asin No. 1 for 
the first drying. Then redip the 
line for about 12hrs. Wipe it down 
lightly to remove the superfluous 
dressing, and then wind it over a | 
clothes-horse, and place it in front 
of a fire for a few hours. This will 
cause the dressing to flow evenly, 
and give a good final gloss. Then 
hang up between posts to dry as 
before, and then in aroom for some 
months. (4) To redress a line, rub 
it thoroughly with a common white 
wax candle. Soak a piece of flannel 


PISHING-RODS 


in boiled oil, squeeze it out fairly 
dry, and then rubit over the waxed 
line. Hang it up to dry as in No. 
1. Ifit be possible to obtain an air- 
pump, coil the line in the dressing 
under a receiver, and exhaust the 
air. Leave it thus for 4 hr., then 
let in the air and leave for a minute 
or two. Then exhaust the air 
again, and leave for 4 hr., and 
then take the line in the dressing 
out of the pump, and leave for 
about an hour, Hang up to dry 
as in No. 1. 
FISHING-RODS: SPLIT 
CANE. Buy the _ necessary 
lengths of East India or South 
Carolina cane from a_ tackle 
maker who makes a specialty of 
built-up cane rods. The cane 
should have a thick, hard skin, and 
be as free from joints as possible. 


Fic. x. 


Split out six pieces from each 
length as shown in Fig. 1., making 
the inside angle ACB of each 
section 60°, i.e, make AB=AC= 
CB. The size of the rod must 
now be fixed; a typical rod is 
given at the end, but it would be 
impossible to give dimensions to 
suit all, and the most suitable 
sizes had best be got by testing 
some rods, till the right one be 
found, and then making up the 
new rod to the same dimensions. 
As the six segments are eventually 
glued together, as shown in Fig 2., 
which is a section through the 
rod, it will be seen that the length 
of one side of each segment is 
equal to the radius of the rod at 
that point. Cut out a template 
from sheet zinc or brass, and from 
the centre strike circles (a) and_(c) 


Fig. 2. 


89 


Fig. 3, the radius of each being 
equal to the side of a segment at 
the top and bottom of the joint. 
Strike the circle (b) half way be- 
tween these two. Then ‘nick out 
the piece ABC and file up to the 
centre exactly, making the angle 
60°. The six segments for this 
joint should fit into this angle, 
and the outside edge should just 
come up to circle (c) at the thin 
end, to (b) in the middle, and to (a) 
at the thick end. To plane up the 
sections, plane up a l-in. board 
about 6 ft. long by 6 in. broad 
perfectly level, and with no wind- 
ing. Then plough out three grooves, 
which should be at an angle of 60° 
as shown in section in Fig.4. The 
first groove should taper, say, from 
# in. deep to } in. deep, the next 
groove from in, to 3 in., the third 


_Fia. 3. 


groove from 4 in. to flush with the 
surface of the board. If a suitable 
plough cannot be obtained, make 
up the board in sections as shown 
by the dotted lines, and glue 
together. Another board of the 
same size, but with the grain at 
right angle to the grooved board, 
should be glued and screwed on to 
the back to prevent warping. Two 
cross pieces of wood are screwed 
on to the board, one at each end. 
The section is now placed in a 
suitable groove, and one cross 
piece twisted over it and screwed 
down. The section being held 
firmly, it is planed away from the 
cross piece. When that end is 
sufficiently worked, the first cross 
piece is slacked out, and the other 
one screwed down, so that the end 
of the section not yet planed can 


90 


be finished in the same way as the 
first end, 

Another method of planing up 
the sections is by means of a long 
shoot board, shown in section in 
Fig. 5. (F) is planed up perfectly 


’ . a 
LLL 


Fic. 4. 


square 1 in. x 4in. x 6 ft.: (D) is 
planed up perfectly square 1 in. x 
6 in. x 6 ft. These two are then 
glued and screwed together. (E) is 
then planed up the same as (F), and 
then the two corners of (E) and 
(F) planed off to accommodate the 
section, as shown dotted in the 
illustration. Two or more pieces 
may be made for (E) to suit different 
sized sections, but the angle made 
by bevelling off the corners of (E) 
and (F) to accommodate the section 
must in all cases be exactly 60°. (E) 
is bolted down through (F) and (D), 
but the bolt moves in a slot, so 
that (E) can be moved slightly re- 
latively to (F), thus increasing or 
diminishing the depth of the section 
at either or both ends. One end 
of (E) can therefore be tapped out 
slightly, so that the section can be 
planed up taper, but keeping the 
angle 60° all the time. An iron- 
faced plane must be used, and the 
template tried continually till the 
section is exactly of the right size 
and section. If the section be 
made a little long, it can be planed 
up and then cut to length, so that 
the template fits, but they must be 
so fitted that no two dressed-off 
joints or rings of the cane in the 
section come together. If the sec- 
tion be cut the right length at first, 
and slightly too much be planed 
off, it will have to be discarded. 
The top and middle joint sections 


FISHING-RODS — 


being planed up, it may be found 
that the cane is not thick enough 
in the enamel to make the bottom 
joint. In that case, two pieces 
must be glued together for each 
section, or twelve pieces in all for 


Fia. 5. 


the joint, as shown in Figs. 6 and 
7. To fit the two pieces for each 
segment together, take off enough 
enamel with a very sharp plane from 
the inner piece to allow the glue to 
hold, and to make the piece straight 


Fia. 6. 
in length, 
round in section. Now groove 
out the inside of the outer piece to 
fit the outside of the inner piece 
exactly, and glue together firmly, 
as explained later on in gluing the 
rod together. Then treat the two 
pieces glued together as one 
section, and plane it up as indi- 
cated by the dotted lines. When 
all the sections are complete, fit 
the sections together, and bind 
each joint separately at each end. 
It is most important that the best 
glue made rather thin be used, and 
that the wood is hot before the 
glue is applied. To make the wood 
thoroughly hot, cut a piece of gas 
barrel, say 6 ft. long as shown at 
(A) Fig. 8. Fit a cork into one end, 
and bore a hole through it into 
which a smaller tube (B) fits, which 
is corked at both ends. The other 


Fia. 7. 
though still curved 


FISHING-RODS 


end of (A) is connected by a tube to 
the spout of a boiling kettle, and 
a hole (C) is bored in it to allow the 
steam to escape. Now, introduce 
the rod-joint in (B) point first, and 
fit in the cork. Leave it there till 


91 


the inside sharp corners of both 
ferrules, that fit on to the wood, 
with a rose-bit, and drive on the 
male ferrule, having applied Le 
Page’s glue, and made the brass 
and the end of the joint hot. 


Fra. 8. 


the wood is thoroughly hot, and 
then take out the rod-joint a little 
at a time, say 6 in. Apply the 
fresh, hot glue, and bind round 
tightly; then glue another 6 in. 
and bind, and so on till the sections 
are all glued, and tightly bound 
together. Place this joint in a 
warm place to dry, for at least two 
days. Cut a piece of straight- 
grained cedar 1 ft. 3in. x 1l}in. x 
1} in., and drill a hole 6 in. down the 
centre for the bottom joint to fit 
in. Slightly open the hole with a 
rimer, and cut a small groove 
down one side to allow the air to 
escape when the joint is driven in. 
Scratch the last 6in. of the joint 
with sand-paper, and glue up. 
Now, plane the handle down to 14 
in. square, taking it off where 
_ necessary to make the handle in 
line with the rod. Then plane it up 
octagonal, and finally round off to 
suit the winch-fitting at the bottom, 
and as fancied at the grasp. The 
handle may be left plain, or it may 
be covered with pig skin, cane 
(as used for chairs) bound round 
spirally, or cork. Another way of 
making a handle, which is perhaps 
preferable, is to work up several 
thicknesses of bamboo by filing out 
the soft inside part, to slip over 
the rod, and then glue in place, 
and finally work. down to the 
desired shape. Select double- 
brazed ferrules of a suitable size, 
take off just the corners of the 
cane to make it almost round, and 
roughen the surface ; then take off 


Now, bind the end of the other 
joint, which is to be driven into 
the corresponding female ferrule, 
very firmly with thread, and drill a 
small hole down the centres of 
each joint for the dowel. Bind on 
six thin strips of wood to project 
beyond the end, to serve as a guide 
for drilling these holes in line with 
the rod. Then rimer them out 
slightly taper. Drive in a piece of 
greenheart turned slightly taper 
each way for the dowel, and grind 
the greenheart into the holes with 
glass-paper, till of a perfect fit, and 
the cane-joints butt against each 
other. Then glue the dowel into 
the joint on which the male ferrule 
is fitted; then undo the binding on 
the joint, which is to fit into the 
female ferrule, and fit it on as the 
male ferrule was fitted. If the 
ferrules be not very strong, it is 
best to bind the top of the male, 
and the bottom of the female ferrule 
with thread before driving them 
on. The winch-fitting is next 
fitted and screwed in place. Then 
rub down all over lightly with 
No. 0 glass-paper, and polish. [See 
Woop POoLisHING.] Stretch a chalk 
line from end to end of the red, and 
snap it, and then bind on the rings 
with best thread or silk, and well 
waxed with cobblers’ or transparent 
wax [see WAX (TRANSPARENT)] ex- 
actly over the centre of this line. 
The distance of the rings from the 
tip may be 5% in., 64 in., 84 in., 
11 in., 14 in., and soon. Whip on 
small lengths of thread every 4 


92 


to 6 in. to strengthen the joints; 
also below and above the ferrules, 
under which the joint keepers may 
be fixed. Roll each binding be- 
tween bits of hard flat wood, and 
then varnish the whole with five or 
six coats best coachmakers’ copal 
varnish, allowing three days for 
one coat to dry before applying the 
next. Then finally polish all either 
clear or dull, Plugs or stoppers 
should be made to fit into the 
ferrules to prevent dirt getting in 
when the rod is not in use. Turn 
up a piece of greenheart, and glue 
it into a piece of cork, which should 
make a well-fitting plug. 

Size of a 9 ft. split cane trout-rod: 
Top joint, ~; in. diameter at one end 
tapering to ¥, in. diameter at the 
other end. ‘Middle joint, 3 in. 
diameter full tapering to 3 in. bare. 
Butt, 2 in. full to .% in. at top of 
handle. 

FISHING-RODS: WHOLE-~ 
WOOD. The woods used for 
fishing-rods may be greenheart, 
hickory, blue mahoe, lancewood, 
washaba, ash, and sometimes the 
butt is made from deal, cedar or 
any light wood. Cane is also 
used, and it may be made up 
whole, or built up in sections. [Sze 
FISHING-Rops (SPLIT CANE)] For 
long bottom-rods, whole cane is 
best; for fly-rods, greenheart, the 
best quality mahoe, or split cane. 
Lancewood is also good, but 
hickory tends to set if subjected 
to a heavy strain. Whatever 
timber be used, it should be split, 
not sawn, from the log; the grain 
should be perfectly clean and 
straight, and free from ‘ pins”. 
The sizé of the rod having been 
selected, cut out one template for 
each joint, as shown in Fig. 1. (A) 
is drilled out to equal the section 
of a joint at the top, and (D) to 
equal the size at the bottom. (B) 
is made square, the sides being 
equal to the diameter of (A); and 
(D) similarly to (C), Plane up a 1-in. 


FISHING-RODS 


board 6 in. x 6 ft. smooth and 
without winding. Then cut three 
Square grooves in it, the first 4 in. 
deep x 4 in. broad at one end, 
tapering to $ in. deep x ¢ in. 
broad at the other end; the next 
% in. square to } in. square; the 
third } in. square to 3 in. square, 
and fit cross-pieces as explained in 
FISHING-Rops (SpLiT CANE). Also 
make three similar grooves, but 
with V-shaped channels, the angle 
at the bottom being 90°. Another 
way is to make a shoot board, 
which is similar to that described 
under FISHING-Rops (SpLitT CANB), 
Fig. 5, only (E) is cut off a little 
narrower than (F), so that the wood 
is plained up square, as in an 
ordinary shoot board. Now, place 


Fie. 1. 


a piece of wood, say for the top 
joint of a fly-rod, in one of the 
slots, and plane up one side per- 
fectly level by sighting along it, 
and using a jack plane. Then plane 
up the next side as before, making 
it square with the first side. Now, 
begin working down a third side, 
continually calipering it, and using 
the gauges (B) and (C) shown in Fig. 
1, When this is nearly the correct 
size, say y, in. too big all along, 
begin on the fourth side, and plane 
that down till nearly right. Then 
plane each slightly alternately, 
till the gauges fit on tight. Then 
place it in one of the V grooves, 
and commence to plane it up 
octagonal. Finally file up round, 
testing continually with the round 
gauges (C)and(A). Repeat this with 


FISHING-RODS 


the other joints till all are filed up 
roughly. Fit on the ferrules and 
dowels, as explained under Fisn- 
ING Rops (Spit Cane), and screw 
on the winch-fitting and spear. 
Test the rod in the hand, and see 
how it works. If it seems stiff at 
any part, ease it very slightly, 
scraping with the edge of a broken 
piece of glass, and test again. If 
it be too whippy, shorten the joints 
very slightly. When all is satis- 
factory, French polish the rod 
[see (To) PotisH Woop] and bind 
on the rings. Give the bindings 
two coats of shellac’ varnish, 
leaving 3 hrs. between each 
coat. Then give all three coats of 
best coachmakers’ copal varnish, 
leaving three days between each 
application. Each coat of varnish 
should be flatted with pumice 


powder, when dry, before applying | 


A 


93 


up nearly to size as before, leaving 
the splice just a shade larger than 
it should be, if the rod were made 
from one piece of wood. Then fit 
on the winch-fitting, and test for 
play. Ease where necessary as 
before. Then wrap a damp rag 
round the splice, and when the 
glue softens, separate the joint. 
Then scrape off the glue and the 
paper, and finish in the usual way. 
A strong piece of whip-cord or 
salmon line should be bound on 
just below the splice, so that it 
can be twisted round the splice 
when the rod is put together. 

Particulars of a 15 ft. 6 in. or 
11 ft. 6 in. bottom-rod : make the 
butt from clean, straight-grained 
red deal 4 ft. long x 2? in. diameter 
at ferrules, and 14 in. diameter at 
handle; winch-fitting about 7 in. 
long about 6 in. from the end. 


. eae a 


B 


FIG. 2. 


the next. Fly-rods up to 12 ft. 
are often made spliced, and as this 
does away with ferrules, the rods 
are far easier to make, besides 
being easier in action. Some 
firms even make 18 and 20 ft. 
salmon rods spliced, but these 
take a considerable time to fit up 
each time they are used. The dis- 
advantage is that if a jointed rod 
gets a set in it, the rings can be 
taken off, and bound on again, so 
that the rods work straight again. 
With a spliced rod the rings can- 
not be shifted round. First plane 
up each joint nearly to gauge, and 
then cut them and bind them 
together as shown in Fig. 2. The 
length of the splice from (A) to (B) 
being from 4to6in. If the joints 
lie in line, take them apart and 
glue them together with a piece of 
paper in between. When dry, file 


The two middle joints are made 
from bau.boo 4 ft. long, the larger 
one # in. diameter at one end 
tapering to ,% in. diameter at the 
other; the smaller one , in 
diameter tapering to 4 in. The 
top joint is 3 ft. 6 in. long tapering 
from 4 in. at one end to ;', in. at 
the other end. This makes the 
15 ft. 6 in. rod. To make the 11 
ft. 6 in. rod, make another top 
joint 3 ft. 6 in. long to fit into the 
second bamboo joint tapering to 
+ in. at the end. The bamboo may 
be mottled by running a flame 
over it, so as to singe, but not 
burn, the enamel. 

Particulars of a 9-ft. fly-rod: 
Make from greenheart in three 
3-ft. joints. The butt is 1} in. 
diameter across the handle, ,% in 
diameter just above it, and 3 in 
diameter at the ferrule. The 


94 


second joint tapers from 3 in. 
diameter to } in. diameter from 
end to end, and the top joint 
tapers from } in. diameter to 7, in. 
full at the tip. The rings are 
spaced measuring from the tip 
34 in., 4 in., 5 in., 6% in., 84 in., 
104 in,, 13 in., and then about 
every 15 in. 

Particulars of an 11-ft. fly-rod: 
Make in two 5 ft. 6 in. joints of 
the following sizes: 2 ft. from butt 
ys in. diameter; 4 ft., 44 in. dia- 
meter; 6 ft., diameter; 8 ft., 
in. diameter; 10 ft., 4 in. diameter; 
11 ft., 7, in. diameter full. 

Particulars of a 12-ft. pike-rod: 
Make in four 3 ft. joints from 
greenheart. Butt, 14 in. diameter 
at handle to ? in. diameter at 
ferrule. Second joint, } in. dia- 
meter tapering to in. diameter. 
Third joint, 7; in. diameter to +, in. 
diameter full. Top joint, 35; in. 
diameter full to 3, in. diameter at 
tip. 

Particulars of an 11-ft. 6-in. 
_roach-rod in three joints: Butt, 
made from yellow or red pine, 3 
ft. 10 in. long, 14 in. diameter at 
handle and % in. diameter at 
ferrule. Middle joint, made from 
deal or bamboo, 3 ft. 10 in. long, 
tapering from 7% in. diameter to 
% in. diameter. Top joint, made 
from lancewood or greenheart, 3 
ft. 10 in. long, tapering from ¢ in. 
diameter to 4 in. diameter. 

FLANNEL: HOW TO 
CLEAN. Wash flannel in warm 
suds, and do not use soap on the 
flannel itself. Never wash in the 
same water that other fabrics 
have been washed in, and wash 
white flannels in the suds before 
coloured ones. Directly the suds 
look dirty, throw them away, and 
make fresh. Rinse in warm 
water; do not wring, but hang up 
to drain, and dry where warm. 
[See also BLANKETS (HOW TO CLEAN] 

FLEECE HORSE. A pulling 
horse for sheep pelts may be made 


RFLANNEL—FPLOWERS 


as follows: split a smooth log 5 or 
6 ft. long by about 1 ft. diameter 
down the middle. Fit two legs 
about 2 ft. long into one end, leav- 
ing the round side uppermost, and 
let the other end rest on the ground. 
For scraping off the pelt use a 
large wooden knife or ‘skiver”’. 
Soak the pelts for from 24 to 40 
hrs. in running water; then hang 
them up in a warm room till the 
skin begins to ferment. If the 
skin be allowed to ferment too 
long it will stick to the roots of 
the wool. After pulling, the wool 
should be dried as quickly as 
possible—to prevent moulding. 
FLOWER BOUQUET. Mak- 
ing: The central flower should be 
large and have a stiff stem. Fasten 
the smaller flowers loosely round 
it, with thin wire, and as the 
bouquet becomes large, moss or 
tissue paper may have to be bound 
round the stalks to prevent them 
being bent too much and breaking. 
If the stalk of a fiower be too short, 
bind it to a piece of flexible stick 
with fine wire, and place a little 
damp moss at the end. When 
complete cut off the stalks even, 
and bind with silver paper and 
ribbon. A lace paper fringe, or 
pinked paper, gives a finish. 
Preserving: Sprinkle lightly with 


‘water, and place the stalks in soap 


suds. Each morning take the 
bouquet out of the suds, and lay 
it sideways in fresh water for a 
few minutes; take it out, sprinkle, 
and return it to the suds. Change 
the suds every three or four days. 
FLOWER STAKES. Dipabout 
7 to 14 in. of the sharp end of the 
stakes in boiling tar for 10 mins., ~ 
remove, and let the tar drip off; 
then roll in sharp sand, and when 
dry dip again in the tar. Do not 
place more than the tarred portion 
of the stakes in the ground. 
FLOWERS :CRYSTALLISED. 
Dissolve 1 lb. alum in 1 qt. boiling 
soft water, and allow it to cool 


FLOWERS 


down to blood heat. Tie the 
flowers or grasses in a bunch, and 
then tie them into a basket made 
of copper wire. Sink the whole in 
the alum water. 

Small crystals look best, and to 
obtain these, move the flowers 
about often, and when a slight 
crystallisation appears, remove, 
and allow it to drain for 12 hrs. 
The crystals may be coloured by 
dissolving a little indigo in the 
alum water for blue; carmine or 
vermilion for red; etc. 

FLOWERS: HOW TO DRY. 
To preserve pansies, geraniums, 
etc., sift 1 or 2 in. of sharp river 
sand into a box, place the stems 
in this, and fix the flowers upright ; 
sift sand over the flowers, arrang- 
ing the petals from time to time in 
a natural position, and jarring the 
box to fill up allinterstices. Cover 
the flowers entirely with sand, and 
if they be small, place them out in 
the sun on one or two warm days, 
if they be large, place the box ina 
warm oven at a temperature of 
95° to 105° Fahr. Leave in the sand 
one or two weeks. Place a little 
quicklime in the bottom of a large- 
mouthed jar, insert the flowers, 
and then seal hermetically. 

FLOWERS: FEATHER. Pull 
the natural flower to be copied to 
pieces, and cut the feathers to the 
shapes of each piece. Use natural 
coloured feathers for preference, 
but dyed white goose feathers are 
satisfactory. Employ two thick- 
nesses of wire, the coarse for the 
stems, and the fine for fixing the 
petals tothem. Another way is to 
form a bulb of equal parts. resin 
and beeswax, and to fix the petals 
directly on to it. Wind the stems 
with green tissue paper, and form 
the flowers into wreaths, and 
bouquets. ‘ 

FLOWERS: HOWTO PACK. 
Cut the flowers with the dew on 
them, and shake it off. Wet cotton- 
wool, wring it out. and wind it about 


95 


the end of each stalk separately. 
Cover the bottom of a tin box with 
damp, stout, brown paper, and 
place a flower in; cover it with 
tissue or silver paper, then put in 
the next flower, and cover that 
with tissue or silver paper, and so 
on. Over all place a piece of 
tissue paper, then a layer of cotton- 
wool. Cover the box with paper. 

FLOWERS: HOW TO PRE- 
SERVE. Cut: Flowers last longest 
when cut with the dew on them; 
shortest when under a warm sun. 
Put the stems in white sand and fill 
up with water till 1 or 2 in. above 
the sand. The water standing 
on the top should be changed 
every day. A little salt is often 
added to the water. When the 
flowers begin to look old, put the 
stems in hot water for 5 mins., and 
then cut the ends off. Replace in 
the sand, to which milk-warm 
water has been added. Put cut 
flowers out when the dew is fall 
ing if possible. 

Funeral: The flowers should be 
fresh, pure white or of delicate 
tints, and without leaves. Melt 
the best paraffin wax ina cup set 
in hot water. Into this dip the 
blossoms, or brush them with a 
small brush, covering each one 
completely. To coat the leaves, 
chrome-green powder paint must 
be added to the wax, or wax leaves 
may be used. [See Wax FLOwEr- 
MAKING] A moss ground can be 
used instead of leaves. [See also 
FLOWER BOouQueET] 

FLOWERS: HOWTO PRESS. 
When possible press root, stem, 
leaf and flower, and gather them 
on a warm, dry day. Delicate wild 
flowers must be pressed quickly, 
thoroughly, and with a pressure 
that will not crush them. Place 
each specimen in a sheet of brown 
paper, and interpose several empty 
sheets between each that is filled. 
Press gently for the first day, just 
enough to prevent the petals, etc., 


96 


curling. Take out the empty sheets 
of brown paper, dry them before a 
fire, and spread the filled sheets in 
a draught for 4 hr. or so. Then 
press again as before, but do not 
replace the empty sheets while 
hot. This should be repeated 
every day till the flowers are dried. 
Press more succulent flowers 
between white blotting or botanical 
paper, and between each filled 
sheet place a thick piece of card- 
board. Change the cardboard, or 
dry it as above, every day. 

To preserve the colours: dry blue 
flowers with heat, either with an 
iron, under a box of hot sand, or in 
a cool oven. Red flowers are 
injured by heat, but should be 
washed with a solution of 1 part 
muriatic acid to 3 parts alcohol; 
the best brush to apply this is a 
thistle just bursting into seed. 
Yellow and purple flowers need to 
be dried repeatedly in front of a 
fire, after being well pressed. 
White flowers turn brown if 
handled before being pressed. To 
keep fresh between’ gathering 
and pressing see FLowerRsS (How 
TO PACK). 

FLUTES: CRACKS IN. Melt 
5 parts beeswax with 1 part 
resin, and press it into the cracks 
with the fingers. Pass the thumb 
. over the cracks before commencing 
to play. 

FLUTES: TO OIL. Leave raw 
linseed oil unshaken for several 
weeks, and then pour off the clear 
oil on the top. Pure olive oil is 
equally good. Remove any mois- 
ture, and apply the oil, inside and 
out, every time the flute is used for 
the first year; after that, once a 
month is sufficient. When the 
flute is to be used, wipe the oil 
out with an old silk handkerchief 
tightly wrapped round a stick, us- 
ing as much friction as possible. 

FLY-TYING. Select the neces- 
sary dubbing, wings, hackles, etc., 
and lay them handy. Put a hook 


RPLUTES—PLY-TYING 


(say a down-turned eyed hook, 
which is perhaps the easiest to 
tie) in the right-hand side of a fly- 
tying vice, and leave sufficient 
shank projecting to tie the body of 
the fly on. This vice is very long 
and narrow in the jaws, and had 
best be bought. Take a length 
of well-waxed silk [see Wax 
(TRANSPARENT)], and start binding 
from the eye towards the bend of 
the hook, leaving sufficient bare 
shank of the hook near the eye to 
tie in the wings and hackle later 
on. Wrap the silk evenly and 
closely down the shank of the hook, 
and avoid making the body too long. 
If the fly is to have tails, take three 
strands of a cock’s hackle and 
secure them with two wraps of silk 
at the end ofthe body. Now, bind 
the silk back again towards the eye, 
till another layer of silk is laid over 
the top of the first. Twist the silk 
once or twice round the fiy-nut on 
the vice, so that it does not uncoil. 
To make the wings, select for ex- 
ample two starling wing feathers, 
a right and left. Strip off the fag 
ends, and with the first finger and 
thumb divide a piece as broad as 
you wish one wing to be. Draw 
the tips down till even without 
separating the fibres, and holding 
the quill with the left hand, with a 
smart twitch separate the fibres 
from the quill. Do the same with 
the other wing. We have now two 
pieces of feather which are to be 
the wings of the fly. Place the left- 
hand wing of the fly on the first 
finger of the left hand, the inside 
of the wing uppermost, and on the 
top of this put the other wing, the 
outside uppermost, laying the tips 
evenly together, and then close 
the thumb firmly on them. Open 
the tips of the thumb and fingera 
little, and place the two wings on 
the shank of the hook as they are 
to appear when the fly is tied. 
With the right hand unwind the 
silk from the fly-nut, and draw the 


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silk down on the roots of the wings. 
Take two turns of the silk, still 
keeping the thumb and finger of 
the left hand in the same position. 
Pass the silk securely round the fly- 
nut of the vice, and remove the 
left thumb and finger to see if the 
wings set properly. If so, draw 
the silk to one side, and trim off 
the roots of the wings with a small 
sharp pair of scissors. Take two 
turns to form the head, holding the 
wings firmly. Do not allow the 
silk to slack or the wings will draw 
out, or slip round sideways. The 
wings for length should reach to 
the bend of the hook. Pass the 
silk behind the wings to tie in the 
hackle. Strip off the fluff from the 
bottom of the hackle, and lay the 
feather beside the wings, the root 
pointing towards the eye of the 
hook. Tie it in sideways close to 
the wings, care being taken not to 
disarrange them, with two wraps, 
and cut off the roots fairly close. 
With a pair of special fly-tying 
tweezers catch hold of the end of 
the hackle, and put on two or three 
turns close up behind the wings, 
keeping the hackle on its edge. 
This will make the wings set more 
upright. Secure with a wrap and 
two hitches. Cut off the silk and 
the end of the hackle, and trim up. 
The fly is now made. 

For a dubbing body, twist dub- 
bing on the second layer of silk 
sparingly, and wrap up to the head 
as before. More dubbing may be 
twisted on in the middle of the 
body, thus making it taper. 

When dressing a b@z or hackle 
fly, the fly is made precisely as the 
foregoing, except that the wings 
are left out, and more hackle wound 
on. The hackle may be brought 
down tothe middle or even to the 
end of the shank of the hook, as in 
palmer flies. 

The body of many flies is made 
of peacock herl. This is wrapped 
with the second layer of silk, keep- 


FOUNTAIN 


ing it well on its side as if it werea 
hackle. 

To make scale wings, select a 
scale from a freshly-caught fish of 
the required size; cut off the outer 
edge, and also the membrane on 
the under side of the scale. Place 
it between two sheets of news- 
paper, and press it for a few hours. 
Then soak it in water, 
and when soft cut it to 
the shape shown in the 
illustration. The two 
halves are then doubled 
back to back, and they 
are attached by binding 
the lug on to the hook. 

It is a very good thing to take a 
well-made fly to pieces, and note 
how the wings, etc., are attached. 
A few standard flies for trout are 
given on the preceding page. 

FOUNTAIN. Cut a good sized 
barrel in two parts, making one 
part equal to } barrel, the other 
equal to barrel. Use the smaller 
part for the fountain basin, the 
larger for the reservoir. Sink the 
basin almost flush into the ground, 
and lead a lead pipe from under- 
neath, coming up in the centre. 
Take a large thimble, and with a 
centre punch punch at all the dents 
in the top, and pierce small holes 
through. Solder this on to the tube 
to form a rose. Raise the other 
piece of the barrel about 4 ft. from 
the level of the basin, either banking 
it up, or blocking it up with rock- 
work, Insert the other end of the 
tube about 3 in. from the bottom, 
and cover the end over with fine 
gauze to prevent the fountain get- 
ting stopped. The reservoir may 
have pockets of cork nailed on, in 
which ferns and creeping plants can 
grow. The rockwork and growing 
plants may be led up it, always try- 
ing to make it as inconspicuous as 
possible. A few fish will thrive in 
the basin. No food need be given 
them after the plants once begin 
to flourish, They must of course be 


POWL-HOUSE 


removed during the winter. Near 
the water’s edge plant fuchsias, 
ivies, lilies, etc.; next achyranthus, 
etc.; next geraniums, heliotropes, 
roses, etc. 

FOWL-HOUSE, In buildinga 
fowl-house the following points are 
essential; (a) Free ventilation. 
(b) The nests to be reached without 
disturbing the fowls. (c) Warmth 
in winter. (d) The house to be 
easily kept clean. Allow about 4 
sq. ft. for each fowl in building the 
house. 

(1) For about twenty-five to 
thirty fowls make the house 12 ft. 
deep x 10 ft. broad. Putin four 
posts 6 in. x 6 in., the two front 
ones 8 ft. above the ground, the 
two back ones 11 ft. above the 
ground, for the corners of the 
house. Put in a floor of 14 in. deal 
3 ft. from the ground, supported by 
beams 4 in. x 4 in. nailed on to 
the four corner posts. Board with 
1 in. match-boarding from the roof 
to the ground, placing the boards 
vertically on three sides, but leaving 
the fourth side (which should look 
towards the south) open all along 
the bottom from the floor to the 
ground, and leave 2 ft. 6 in. open 
from the roof to the floor on that 
side to fit in a door. Put on the 
roof, and let it overlap 2} in. on 
every side. Cover it with thick 
felt, and thoroughly tar it [see 
ROOFING (FELT)], or cover the 
wood with corrugated iron. 
a hole in the centre of the 
floor 18 in. square for the fowls to 
enter by, and stiffen the edges all 
round it. Put in an open-work 
wire window near the top on each 
side with hinged shutters over 
them to close in cold weather. 
The roosts should be put in on 
each side of the door, and they 
should be readily removable; the 
first one 18 in. from the floor, and 
three more spaced equally towards 
the top corners on each side. 
Place the boxes underneath, on 


Cut » 


99 


racks, for the hens to lay in, 15 in. 
wide x 18 in. deep x 18 in. high. 
These should also be readily 
removable, and often cleaned. [See 
also Fowu NEstT.] It is best 
to have a double door, the outside 
one of boards, the inside of open 
wooden trellis-work. The board 
door may then be left open in hot 
weather. 

(2) For about eighty fowls: Make 
an octagonal house 20 ft. from side 
to side x 6 ft. 6in. high from the 
floor, the floor being raised 2 ft. 
from the ground. Make the eight 
piers of 4 in. x 4 in. deal, tar the 
ends, and bed them into the ground, 
resting the ends on flat stones. 
Make the frame on the piers of 4 
in. x $8 in. joists set on edge, 
halved, and nailed at the joints. 
Put on the floor with 1} in. boards. 
Another frame of the same size is 
made of 3 in. x 3 in. for the top, 
and covered with 1 in. boards, 
leaving a hole 10 in. x 10 in. 
on which is placed an octagonal 
chimney for ventilation. The two 
frames are nailed together with 1} 
in. boards, grooved and tongued 
together; and to guard against 
shrinkage, batten the joints with 
laths. Make a door 2 ft. 6 in. broad 
on the south side. Put a small 
latticed window on each side near 
the top with shutters hinged on to 
close them in winter. Leave a 
small opening for the hens to enter 
by on the south-east side, with steps 
leading up to it. Place a post in 
the centre with eight arms branch- 
ing out to each corner—the two 
lower arms starting at two corners 
next to each other, and three more 
on each side, 1 ft. vertical pitch 
between. Put the first two arms 
2 ft. from the floor. For a hen 
ladder to the roosts, place a board 
2 in. thick x 8in. broad at 45° to 
the floor, and nail small cleats 
square across the board 5 in. apart. 
Keep the floor covered with road 
sand a few inches deep. The 


e 


100 


roosts may be made of wood, 3 
in. wide at the top, the corners 
rounded, and a groove } in. deep 
cut in them. The groove should 
be filled with kerosene once a 
fortnight. Under each a board is 
placed to catch the droppings, 
which should be often cleaned, and 
powdered with air-slaked lime. 
To purify the house from vermin 
light a small fire of green sticks 
on the floor, close all doors and 
ventilators, and leave for 1 hr.; 
then air for 1 hr. before readmitting 
the fowls. 

FOWL NEST. Straw is better 
than hay. Use wooden nest eggs 
as they do not break the eggs. If 
an egg break, remove any that it 
has made sticky, wash them in 
warm water, and replace in the 
nest before the hen returns. Re- 
move the eggs at nightfall, just 
as the fowls have gone to roost. 

FOWL RUN. Make long port- 
able runs for the fowls. [See FENCE 
(PORTABLE)] Let them work the 
ground, then run up another por- 
table fence, open a space in the 
middle fence, and drive the fowls 
through on to the new patch. 

FOWL-YARD. (1) Cut the posts 
2in. x 4 in. at the top, 4in. x 6 
in. at the bottom, and 12 ft. long. 
Sink 3 ft. 6 in. in the ground, 
leaving 8 ft. 6 in. above, and space 
them about 6 ft. apart. Nail on 
three rails 2 in. x 3 in., and then 
nail on upright strips of deal on 
the inside 10 ft. long and lin. x 3 
in. at the bottom, tapering to 1 in. 
x lin. at the top. A base board 
12 in. wide running round the 
bottom improves the appearance. 
(2) Set 44 in. square posts 10 ft. 
long 4 ft. in the ground, and space 
them 8 ft. apart. Fix three tiers 
or rows of wire with staples 1 
in. apart 1 ft. from the ground; 
another three rows | in. apart 3 ft. 
10 in. from the ground; and the 
top three rows 1 in. apart a few 
in. from the top of the posts. 


FOWL NEST—PRAME 


Weave the laths 8 ft. long be- 
tween the wires about 3 in. apart. 
Picket the top edge and chamfer 
the other end, and drive 6 in. to 1 
ft. into the ground. Another way 
is to weave laths about 4 ft. long 
with 3 in. between each. Picket 
one end and chamfer the other end 
chisel shape of some other laths 4 
ft. long; interweave these through 
the top three wires, and shove the 
chamfered end down beside the top 
of the bottom laths, lapping under 
the wires 2 in. The wires must be 
fixed to the posts very slack, for the 
weaving of the laths will take it up. 
(3) Wire netting is the cheapest, 
and most readily run up, but it is 
not so durable, and has not sucha 
good appearance as fences. Run 
the netting over posts 44 in. square 
x 12 ft., 8 ft. 6 in. being above the 
ground, or 6 ft. above the ground 
if the top be covered with netting. 
The netting should be chosen of 
so small a mesh, that small birds 
cannot enter if the top be covered. 
FRAME: COLD-~-. Construct 
as for a hot-bed [see Hot-BeEp], 
but facing either east or south. 
Have no bottom heat, but use good 
quality garden soil only, which 
should be at least 12 in. deep. 
FRAME: PICTURE. Composi- 
tion Ornamental: Mix whiting with 
thin glue to the consistency of putty. 
Rub the mould over with sweet oil, 
and press the composition well ia. 
When a good impression is taken, 
take it out and lay it out to dry. 
If it be desired to fit the cast toa 
curved surface, bend it before the 
composition sets. [See also Stucco] 
Hanging: Cut strips of canvas 
1 jin. wide, and cover them with 
velvet or velveteen. Put a curtain 
ring on the junction of the two 
straps to hang over the nail, and 
tack the lower ends to the picture. 
Mitre Foint: Cut off the four 
lengths necessary in a mitre block 
[see MiTRE Box] with a tenon 
saw, so that any knots or flaws 


FRAME 


come in the middle, not at the 
ends of the lengths. Then plane 
them up in the mitre shoot nearly 
to size, planing one end of a length, 
which is to form a joint, gilt side up, 
and the other end, which is fixed to 
it, gilt side down. Then sharpen 
the plane, and take off a finishing 
cut. Screw up one length B ina 
vice, put the piece A which is to 
be fixed to B on the top, and slide 


(ee 


it 3 in. along. Bore a small neat 
hole through A and half way 
through B, cover the ends with 
hot thin glue, and drive in the best 
sprig, not an ordinary cut nail, with 
a light hammer. As the sprig is 
driven home A will slip down 
B, making the joint exactly flush 
inside and out. Punch in the sprig, 
and fill up with putty; or the nails 
may be driven in secretly. [See 
NAILING (SECRET)] 

Moss: Make a smooth frame of 
soft wood to the desired shape. 
Select the pale green moss that 
grows on beech trees and old logs. 
Paste it on with strong flour paste 
till the wooden frame is completely 
hidden. A cluster of acorns, shells 
or similar ornamentations may be 
fixed to the corners. 

Oxford: Cut the lengths for the 
frame from oak or some finely- 
grained wood; plane them up 
perfectly square, and fit together 


with halved joints. Mark the joints 


at the back, so that they can be put 
together in the same order, and 


101 


take the four pieces adrift. Gauge 
the distances of the bevels which 
extend down the edges, and cut 
them out with a spoke-shave; then 
draw-file with a flat dead-smooth 
file, and polish with glass-paper 


© 


wrapped overa board. Fit together 
again, glue and clamp together 
again, and when dry, glue on an 
ebony head at the corners, as 
shown in the illustration. 

Passe Partout: This frame should 
not be made more than 12 or 14 
in. x 10 or 12 in. Cut a piece of 
glass to the required size, and cut 
out a stiff piece of cardboard to 
match the glass. On the back of 
the cardboard sew two loops or 
rings to support the frame by. 
Lay the cardboard on a table, loops 
underneath, place the engraving on 
the cardboard, face upwards, and 
then place the glass over the en- 
graving. Hold the edges firmly, 
and paste stout tape all the way 
round, letting the tape lap about 
+ in. over the glass. Leave it to 
dry, and then paste. dark-coloured 
binding paper over the tape; let 
the paper overlap the glass about 
g to 4 in. 

Perforated Cardboard: Cut from 
perforated cardboard two _ side- 
pieces and two end-pieces from 
1 to 14 in. broad, and as long as 
the length and width the frame is to 
be, allowing for projecting corners. 
Notch the ends, lay them in place, 
and tack together with fine thread. 
Then cut four more pieces of the 
same lengths, but one row of per- 
forations narrower ; lay these upon, 
and exactly in the middle of the 


102 FREEZING MIXTURE—GALVANISED IRON 


others, and tack as before. Repeat 
again, making the next layer one 
row of perforations narrower, and 
so on, till a width of only 2 or 3 
rows is left for the top layer. The 
last one or two layers should be 
gummed on instead of sewn. If 
glass be desired, fit it neatly in 
at the back, and after the picture 
is in place, paste stiff, strong card- 
board over the back. A_ light 
brass-headed nail, or similar orna- 
ment, may be placed at the four 
cross corners. 

FREEZING MIXTURE. To 
make ice in small quantities, select 
three jars, one to fit inside the next, 
leaving about 2 in. gap between 
each. Place the water to be frozen 
in the inside one; one of the follow- 
ing freezing mixtures in the gap 
between the middle jar, and the jar 
containing the water; and sawdust 
between the outer and the middle 
jar. Cover all with two or three 
thicknesses of coarse canvas, and 
place in a spot where the air is cool 
and still. (1) Mix 8 lb. sulphate 
of sodium and 5 Ib. hydrochloric 
acid. (2) Mix 3 lb. sulphate of 
sodium and 2 lb. dilute nitric acid. 
(3) Mix 9 lb. phosphate of sodium 
and 4 Ib. dilute nitric acid. 

FRUIT PICKER. Cuta circle 
10 in. diameter from 1-in. deal. 
Bore 4-in. holes 14 in apart and 
2 in. from the edge, and into these 
holes fit flat pointed pins 8 or 10 
in. long. Mount on a handle of the 
required length at an angle of 30°, 
Pass the picker under the apple, 
and then upwards, so that the stem 
passes between two teeth; let the 
apple rest on the bottom, and with 
a slight twitch pull the apple. 

FRUIT : HOW TO PROTECT. 
To protect trees and bushes from 
birds, fasten one end of a brown 
reel of cotton to a twig, and wind 
from twig to twig in different direc- 
tions. This is not intended to 
actually prevent the birds from 
eating the fruit, but to frighten 


them, when they alight and knock 
against the thread. 

FUR: CARE OF. After the 
winter is over, brush the fur the 
right way with a soft brush, fold it 
up, and cover it with linen, and 
store. (1) Put the furs in a card- 
board box, and paste paper strips 
round all the joints, and over any 
cracks. (2) Put the furs in a paper 
sack, tie up closely, so that no moth 
can enter, and store in a dark place. 

FUR: TO CLEAN. Unpick the 
lining, and take out the wadding, 
etc. Boil 4 lb. best white or 
mottled soap cut into shavings 
in 1 gal. water, and when dissolved 
let it cool till it is luke-warm ; then 
mix in a handful of bran. Apply 
this liquid with a honey-comb 
sponge to the hairy side, wetting 
the skin as little as possible, then 
with the sponge clean the fur with 
pure cold water. Dry as quickly 
as possible, but do not place near 
a fire, and shake repeatedly whilst 
drying. If the fur dry hard, it 
must be rubbed soft before making 
it up again. Finally brush till the 
hair follows the grain of the skin, 
To keep clean, brush with dry 
pipe-clay on the brush. 

FUR: TO TEST. Blow briskly 
against the incline of the hairs. If 
the hairs open and expose the skin, 
the fur is bad. 

FURNITURE: HOW TO 
CLEAN. Toremove white spots 
from tables, rub with camphor. 
To remove white marks left py hot 
plates, rub over with lamp oil ona 
soft cloth, and polish with another 
slightly dampened with methylated 
spirits. To remove cloudy spots, 
wet a woollen cloth with cold tea, 
not tea leaves, and rub over; then 
polish off very thoroughly with a 
soft duster. [See also POLISH. 
(FURNITURE)] “ 


GALVANISED IRON. Scrub 
the iron in sand, pickle it in a 
solution of sulphuric acid, and then 


GAS—GATE 


immerse it in a bath of molten 
zinc. The zinc should be kept 
covered with sal-ammoniac or 
grease, to prevent oxidisation. 
GAS: ESCAPING. To detect 
escaping gas, paint over the pipes 
with thick suds. Where the bubbles 
are formed are the points of leak- 
age. Usually these points are at 
the joints. 
GATE: BAR. Across paths 
which are seldom used bars may 
be substituted for gates. The bars 
should be made of 14 in. oak, ash or 
elm 6 or 7 in. deep, and with the 
corners rounded off with a spoke- 
shave. To prevent the bars being 
shoved by cattle, make a shoulder 
on the drop end, and let the tenon 
reach through the post so as to 
take a small horizontal pin. 
GATE FASTENER. For 
garden gates, where appearance is 
essential, buy a suitable fastener. 
For farm gates. use a piece of wood 
which is slipped through a mortice 
hole in the head post, and a hole 
in the gate post. If the side of the 
gate be flush, nail two cleats on for 
the board to slip in. If animals 


learn to slip back the catch, bore 
a hole in it close to the upright, 
when the catch is closed, and slip 
a pin in, so that the fastener will 
not slip back without the pin being 
removed, as illustrated. 

GATE: FIELD. (1) Make the 
head post, heel post, top rail, and 
brace from oak or some durable 
hard wood. The rails may be 
made of cheaper wood, but if 
possible make up of good wood all 
through. Cut the heel post 4 ft. 


103 


long, 7 in. x 3in. at the top and 4in. 
x 3in. atthe bottom, Cut the head 
post 3 ft. 9 in. long, 4 in. x 3 in. 
all through. Cut the top rail 8 to 
10 ft. long to suit the width of the’ 
path, 7 in. x 3 in. for half its 
length, and then tapering off to 4 
in. x 3 in. Cut the brace from 6 
ft. to 5 ft. long, depending on the 
width of the gate, and 3 in. x 1 in. 
all through. Cut the rails and 
uprights from 3 in x 1 in. wood. 


Fit altogether with tenon joints, 
with the exception of the brace, 
and pull together with hardwood 
taper pins driven in, the inside of 
the joints being previously painted 


with white-lead paint. The brace 
should be only slightly sunk in the 
top rail and heel post, just enough 
to take the thrust. Fix the rails 
and uprights where they cross 
with strong nails, and clinch the 
points. The gate should be hung 
Square with the path, not with 
the highway. 

(2) This gate should be made 
from 1} in. or 14 in. wood through- 
out, and is not so strong as No. 
1. Cut four pieces 4 in. broad 


x 10 ft. long for rails. Cut one piece 
8 in. broad x 10 ft. long for the 


bottom rail. Cut four pieces 4 in. 
wide x 4 ft. long, two for the 
heel post and two for the head 


104 


post, and lay two of them on the 
floor 9 ft, 4 in. apart. Nail the 
rails on, spacing them suitably, 
the top and bottom rail being flush 
with the tops and bottoms of the 
heel and head posts. Turn the 
frame over, and nail on a brace 6 
in. wide, butting against the top of 
the heel post and the bottom of 
the head post. Then turn it over 
again, and nail on the two pieces 
left for heel and head posts exactly 
over the half heel and head posts 
already on. Then cut out, and 
nail on a brace as before, letting 
it cross the first brace, or run 
parallel with it. 

GATE: FLOOD. The propor- 
tions of the piers and timber 
depend on the size of stream, 
strength of flood, etc. Take for 
example a stream 20 ft. broad. 


GATE 


this concrete into the holes, and 
when the concrete has set remove 
the centre box. For gate posts 
select branches about 12 to 14 in. 
diameter at the thick ends x 10 ft. 
long before they divide into two, 
making forks, as shown in the 
illustration. Cut off the two 
branches about 18 in. above the 
fork, and rough off the bark from 
the bottom 6 ft. Put the thick 
end into the hole left in the con- 
crete by the removal of the long 
boxes. Mix pure Portland cement, 
and with it fill up the space left 
between the gate post and the 
concrete. Stay up the post, and 
leave the cement to set. Repeat 
for the other gate post. Nail a piece 
of hardwood into each fork to 


make a good bearing for the cross 
pole to turn on. 


Have the cross 


either side of the stream about 
3 ft. from the edge. Line the 
sides with 14 in. boards. Make a 
box 1 ft. 6 in. square outside and 
6 ft. 6 in. long, and cover the out- 
side with the following mixture: 
Cut yellow soap into shreds, boil 
and stir until it is of the consist- 
ency of paint. Lower this box end 
on into the hole; the end will then 
stick out 6 in. above the ground 
level. Mix 1 part good Portland 
cement and 6 parts thoroughly- 
washed gravel with water. Turn 


pole 8 to 10 in. diameter. It isan 
advantage to taper the post off to 


6 in, diameter at each end, but it 
is not essential. Place the cross 
bar into the two forks, and nail a 


& 


GATE 


cleat across each fork to prevent 
the cross bar floating off in a flood, 
but leave plenty of play for the 
cross bar to turn easily. On the 
cross bar drive in strong oak pins 
near the posts to prevent end play. 
Nail on boards as shown, or they 
may be suspended from the cross 
bar by chains. Another form is 


‘shown made of slats attached to 


the cross pole with chains. For 
smaller streams, and streams not 
liable to severe floods, the con- 
crete is unnecessary, and the posts 
may be fixed direct in the ground. 

GATE: GARDEN. Make the 
head post 2 ft. 6 in. x Zin. x 2 in.; 
heel post, 2 ft. 6in. x 3in. x 2in.; 
top rail, 3 ft. x 2in.x2in.; bottom 
rail, 3 ft.x 3 in. x 2 in.; brace 
about 3 ft. 10 in. x 2 in. x 2 in.; 
and slats about 2 ft. 6 in. x 1% in. 
x2 in. Join the square frame 
together with tenon joints, and 
fit the top of the top rail.3 in. 
below the top of the head and heel 
posts; the bottom of the bottom 


rail 2 in. above the bottom of the 
heel and head posts. Draw up tight 
with hardwood pins, and then fit 
the brace in tightly. The slats 
should project beyond the top 
and bottom rails about the same 
amount as the heel and head posts, 
and should be firmly nailed on to 
the brace as well as the two rails. 
All the joints should be painted 
with white-lead paint, and fitted 
together before it dries. 

GATE: HOW TO HANG. Fix 
the hinges on to the gate post. 
Wedge the gate up in the position 


105 
required when finished, and mark 
off the position on the heel post. 
Take the gate down, bore the holes, 
and wedge up again, and fix in place. 
Have the top hinge long enough, 
so that the nut may be tightened 
to pull up the head post if the gate 
sags. Puta bolt, with washers at 
each end, through the gate above 
and below each hinge to prevent 
the heel post from splitting. 
GATE: HINGELESS. A bed 
piece is set in the ground in the 
centre, upon which the ends of the 
scantling rests which supports the 
gate. An iron pin is let into each 
end of the scantling to form pivots 
in the bed piece and cross frame. 


A general idea may be formed 


from the illustration. The space 
occupied must be double waggon 
width, and the double latches are 
inconvenient, but the gate has the 


| advantage that it will never sag. 


GATE: NON-SAGGING. (1) 
Cut two pieces of 3in. x 4 in. scant- 
ling, one piece 6 in. shorter than the 
desired height of the gate, and the 
other piece twice the length of the 
first. Cut the rails from 14 in. deal 
6 in. broad, and let them into the 
head and heel posts their own 
thickness, so that the gate is flush 
on one side. Before nailing up, 
recess in a brace, made from # in. 
board 4 in. broad, from the top of 
the head post to the bottom of the 
heel post. The gate should be 
flush on this side. Nail down the 
rails, and brace on to the head and 
heel posts; also nail at all points 
where the brace crosses the rails. 
Nail on 14-in. battens to the heel 


106 GATE 


GATE—GILDING 


and head post on the flush side, 
and also one on each side of the 
rails in the centre. Fasten one 
end of a 8 or 4 in. iron rod to the 
top of the heel post, and the other 
end through the head post with a 
nut and washer on the end to draw 
the rod uptight. After tightening, 
cut the rod off even with the nut. 
(2) Another way is to dovetail 
the brace from the bottom of the 
head post to the top of the heel 
post, thus doing away with the 
iron stay. (3) This gate is also 
shown as made in rustic fashion. 
[See also GATE (RUSTIC)] 
GATE-POSTS. A plan some- 
times adopted is to hinge the gate 
to a living tree. This is not recom- 
mended, though it has the advantage 
that the gate never sags. Oak is 
the best wood, and, if possible, 
select a well-seasoned small tree, 
or large limb of about 2 ft. dia- 
meter. Leave the part that is 
to be inserted in the ground, and 
6 in. above, full size, removing the 
bark only. Work the rest down 
to the required size, cutting away 
equally on all sides, so that the 
heart of the wood remains. If the 
limb or tree has a branch project- 
ing at about right angles near the 
thick end, cut it off about 3 ft. from 
the trunk, and place the post into 
the ground, so that the branch sets 
away, and tends to balance the gate. 
Pack well under this branch ; place 
large flat stones on the top of it, and 
pack firmly down with earth. If 
ready cut wood be used, set both 
posts firm and deep in the ground. 
Dig a trench 9 in. deep x 6 in. 
broad from one post to the other; 
tramp the bottom of the trench 
well down, and fit in a brace 6 in. 
square, butting hard against each 
post. Slightly char the part of wood 
inserted in the ground, whether 
made from a limb or ready cut. 
Mix 2 parts tar, 1 part Burgundy 
pitch, and a sprinkling of quick- 
lime, and steep the charred part of 


107 


the wood in this composition for 
a week or so; then sprinkle with 
sand. Apply two coats of this 
composition to the rest of the 
post, using it as paint. 

GATE : ROADWAY. Make this 
precisely as the heavy field gate 
described [GATE (FIELD No. 1)], only 
leave out the rails and head post. 
An iron strap may be screwed on 
to the bottom of the brace and 
round the heel post to strengthen. 
Adjustable hinges are best used 
so that the sag may be readily 
taken up. 

GATE: RUSTIC. A rustic gate 
may be made cheaply, and is ad- 
vantageously used where strength 
is not important. Round poles 
should be used only, with the 
bark left on. In the head and 
heel posts bore 13-in. holes, and 
cut tenons in the end of the rails 
to fit up against the uprights, leav- 
ing shoulders preferably so that 
they fit up flush nearly half-way 
round the posts. Just inside the 
gate post set a log 6 or 8 in. 
diameter 2 ft. into the ground. 
Saw off square 3 or 4 in. above 
the. ground, and in the centre 
of the log bore a 2-in. hole, 3 in. 
deep. Tenon a pin on the end of 
the heel post 1$ in. diameter x 2} 
in. long with a square shoulder to 
work in this hole. Use an ordinary 
hinge for the top. [See also GATE 
(NON-SaGGING)] 

GILDING. (1) The background 
must be smoothed with glass-paper, 
and then have a good thick coat of 
a paint made with whiting and size. 
When dry rub down with No. 0 
glass-paper or pumice stone, and 
if any dark parts show through, 
give another coat; and when dry, 
smooth down as before. Now, lay 
on good oil gold size, and leave it 
till it becomes “tacky”. If a 
finger-knuckle be pressed against 
it and pulled away, the size should 
click, and leave the knuckle dry 
Place the leaf on with a gilder’s 


108 


knife, and tickle it down with a 
hare’s foot. If the surface be very 
irregular, it may be necessary to 
apply another layer of gold size, 
and give a second layer of gold 
leaf, after the first is dry. An- 
other way of applying the leaf to 
the size is to lay a piece of tissue 
paper on a flat surface, and rub 
paraffin wax gently over it till it is 
shiny all over. Then cut it up 
into squares the size of the leaf; 
place a square on the top of a leaf, 
wax side down, and the leaf will 
adhere. The leaf may now be 
readily applied to the tacky size. 
The leaf may also be readily 
picked up from the pad with a 
gilder’s brush if it be previously 
stroked down the cheek or hair. 
The gilder’s pad is a piece of wood 
shaped like a square painter’s 
palette, with a thumb-hole at one 
end to hold it by, and a piece of 
stiff paper glued upright at the 
other end to form a wind screen. 
The leaf is laid on the pad, and cut 
to the required shape with a knife. 
If only a small quantity of gilding 
has to be done, it is not worth 
while to cut the leaf before apply- 
ing it, but merely brush off the 
surplus leaf when the size is dry; 
but if much gilding has to be done, 
it is best to cut the leaf on the pad, 
and save the odd pieces, which can 
afterwards besold. The knife should 
not be sharp enough to cut the wood 
of the pad, but sharp enough to 
readily divide the leaf. (2) Sprinkle 
fine bronze or gold powder [see 
GOLD POWDER and BRONZE Pow- 
DER] over the wet size. When 
dry, brush the article, which may 
then be varnished. [See also BooK- 
EpGEs (How To GILp)] 

GILDING GLASS. (1) Melt 
isinglass with water in a water- 
bath as glue; while warm, lay it 
evenly on to the glass, and leave 
to dry. Then breathe upon it, and 
apply gold leaf as in ordinary gild- 
ing [see GILDING], and then apply 


GILDING—GIMP STAIN 


a coat of oil gold size over it. (2) 
Sprinkle metal powder over the wet 
Size as explained under GILDING. 
(3) Mix metal powder with borax 
and water to a paint, and apply it. 
Then heat it till the borax melts, and 
cements the powder on to the glass. 

GILDING METALS. (1) Rub 
the metal with soda amalgam, pour 
on a solution of chloride of gold, 
then drive off the mercury with 
heat, and polish. (2) Immerse 
alloys containing copper or zinc 
in a hot or cold solution of cyanide 
of gold. Other metals can be gilded 
by immersion ina solution of cyanide 
of gold, attaching a wire to a piece 
of zinc in a porous pot containing 
potassium cyanide, as in a Bunsen 
cell. (3) Dissolve gold in aqua 
regia, evaporate to dryness, and 
redissolve in water. Then add 
three times its bulk of sulphuric 
ether; agitate, and leave for 24 
hrs. in a stoppered bottle. The 
gold solution will be found floating 
as a yellow liquid on the top; and 
if it be poured off, and clean steel 
be immersed in it, the metal im- 
mediately becomes gilded. Ifparts 
of the steel be varnished, they do not 
become gilded, and thus patterns 
may be traced. 

GILDING: TO RENOVATE, 
Mix 2 oz. purified nitre, 1 oz. alum, 
and 1 oz. common salt in 1 gill 
water. Apply it to the gilded por- 
tions with a brush as paint. 

GIMP STAIN. To remove the 
brightness from gimp: (1) Hang 
the gimp near the ceiling over a gas 
jet. (2) Mix 35 grs. nitrate of silver, 
1 dr. sulphur, and 3 dr. vaseline 
toa paste. Smear this paste over 
the gimp, and leave for 10 mins, 
(3) Hang the gimp up in sulphur 
fumes [see BLEACH 'WOOLLENS 
(How TOoO)]. (4) Dissolve 1 part 
bichlorate of platinum in 7 parts 
water. Immerse the gimp for 5 
secs., and then rinse immediately 
in clean water, or the silk will be 
rotted. 

* 


rinse in clean cold water. 


—— 7 


GLASS 


GLASS: HOWTO CLEAN. To 
clean windows use whiting or am- 
monia, and rub with newspaper. 
If they be dirty or sticky use a mix- 
ture of oxalic acid, alcohol, and 
equal parts kerosene and sperm 
oils. Soak dirty ground glass in 
hot water and soda, and then scrub 
with dilute ammonia water ; finally 
For 
lenses, mirrors, etc., use a chamois 
cloth only. 

GLASS: HOW TO CUT. (1) 
The best is a diamond. For thin 
gless scratch or cut on one side only, 
and then bend the glass as though 
trying to open the scratch. For 
thick glass scratch on both sides. 
(2) Grind an old triangular file toa 
three-cornered point, and temper 
it glass hard. [See TEMPERING] 
Keep the cutter thoroughly wet 
with camphor dissolved in turpen- 
tine or dilute sulphuric acid. 
Hold the cutter slightly inclined 
forward, and draw with a gentle 
pressure over the glass. (3) Place 
the tube or vessel in water to the 
height where it is desired to break 
it; fill the tube to the same height 
inside. Pour oil inside and out on 
the water. Cut a ring of paper, 
fitting the tube, saturated with ben- 
zine or alcohol so that it touches the 
oil, and pour a little inside the tube. 
Set it on fire. (4) At the edge ofa 


‘ sheet of glass make a nick witha 


three-cornered file. Apply a small 
flame to the nick, and a crack will 
run before the flame in any desired 
direction. 

GLASS: HOW TO DRILL. (1) 
Keep the drill freely lubricated with 
camphor dissolved in turpentine. 


_ Glass may be filed, sawn with a 


fret saw, etc., if the tools be kept 
wet with camphorised oil of turpen- 
tine or dilute sulphuric acid. The 
drill should be glass hard. (2) 
Cement a block of wood to the 
glass with beeswax in which is a 
hole the size required to be drilled, 
to serve as a guide. Then fit a 


109 


piece of copper tube of the size 
required into the drill holdgr, and 
lubricate with emery and water or 
turpentine. The emery becomes 
embedded in the copper, andso a 
hard cutting edge is obtained. 

GLASS: HOW TO FROST. (1) 
Mix sugar of lead with varnish; 
apply with a paint brush, and stipple 
it over with a soft dry brush. (2) 
Mix 1 tablespoonful well-ground 
whiting with 2 or 3 qts. milk, and 
apply as No. 1. (38) For screens, 
etc., lay the pane of glass horizon- 
tal; cover it with a strong solution 
of sulphate of zinc, and leave to 
dry. (4) For greenhouses, mix 
whiting with thin glue and stipple 
into. 

GLASS, GROUND: IMITA- 
TION. (1) Mix 18 parts sandarac, 
4 parts mastic, 200 parts ether, and 
80 parts benzol. Thoroughly clean 
the glass, apply the varnish evenly, © 
and leavetodry. (2) Apply dammar 
varnish evenly but sparingly, and 
leave to become tacky. Then place 
white bobbinet over it, and roll it 
in, till it becomes perfectly united 
with the varnish, and quite smooth. 
[See also ErcH (GLass: How To)] 

GLASS: HOW TO PACK. 
Place the heaviest articles at the 
bottom, and mark ‘“ Glass—This 
side up” on the box. Pack all 
tightly with straw or hay, placing 
a good thickness of new straw at 
the sides, top and bottom. If the 
articles be very heavy, or are to be 
sent a long journey, make the 
straw or hay slightly damp. 

GLASS POWDER. To pre- 
pare very fine glass dust, as used 
in cements, heat the glass till 
liquid, and let it drop into cold 
water. Take out the fragments, 
and grind them up to an impalp- 
able powder in a mortar. 

GLASS : SCRATCHED. If the 
scratches be not deep, make a 
thick pad of felt, and polish, using 
putty powder and water on it, and 
rub with a circular motion. If it 


110 


be badly scratched, mix 5 parts 
water with 1 part hydrofluoric acid ; 
rub it on with a pad, and remove 
it quickly. Care should be taken 
to keep the hands free from the 
acid. 

GLASS: HOW TO SILVER. 
The glass should be first thoroughly 
cleaned. [See Grass (How To 
CLEAN)] (1) Dissolve 14 oz. Rochelle 
salt in 3 oz. water, and filter. 

Dissolve 12 oz. nitrate of silver 
in 4 oz. water, and add to this 
solution 1 oz. liquid ammonia drop 
by drop until a brown precipitate 
remains; then add fresh ammonia, 
and then silver solution alternately, 
until the whole of the silver solu- 
tion has been used, and the mixture 
has some of the brown precipitate 
in suspension, then filter the solu- 
tion. When it is required for use, 
mix this latter silver solution with 
the Rochelle salt solution, and 12 
oz. water; then lay the plate glass 
face downwards on the solution, 
and leave for at least 4 hr. The 
silvering should be varnished im- 
mediately, to prevent oxidisation. 

(2) Dissolve 154 grs. nitrate of 
silver in 17 fluid oz. distilled water, 
and then add weak ammonia drop 
by drop until the precipitate at 
first produced is nearly all re- 
dissolved. Filter ‘and make up to 
34 oz. with distilled water. 

Dissolve 31 grs. nitrate of silver 
in 34 oz. distilled water, and then 
raise the liquid to boiling-point in 
a porcelain dish. Dissolve 23 grs. 
Rochelle salt in a little water, and 
mix it with this boiling liquid, and 
continue the boiling till the pre- 
cipitate becomes grey. Then filter 
and allow to cool. 

Mix equal quantities of the first 
and second silver solutions; lay 
the glass out horizontally, rinse it, 
and then flood it. 

GLASS, STAINED: IMITA- 
TION. Mixtransparent pigments, 
such as are used for painting magic 
lantern slides, with fine varnish. 


GLASS-—-GLUE 


Coat a thin piece of glass with it, 
and lay another piece of glass on 
the top of it, so that they are 
cemented together. 

GLASS: HOW TO TOUGHEN. 
(1) Heat the glass from 300° to 400° 
Fahr., and then drop it into oil. 
(2) Boil the glass in a solution 
of common salt in water for one 
or two hours; then take it off the 
fire, and remove the glass from 
the liquid when it is cold. 

GLOVES: HOW TO CLEAN. 
(1) Put the gloves on, and rub with 
a flannel dampened with sweet 
milk and coated with soap; then 
use a clean flannel dampened only, 
and dry carefully. (2) Put the 
gloves on, and wash the hands in 
benzine ; then work them till dry, 
rubbing one hand over the other. 
This method is not suitable for 
very delicately-dyed gloves. (3) 
Mix equal parts alcohol and am- 
monia, or equal parts alcohol and 
camphene. Lay the gloves on a 
cloth, and rub the mixture all over 
with a sponge towards the fingers. 
Then dip the glove into the solu- 
tion, take it out, squeeze it in the 
hand, and go over again with a 
sponge as before. Puff into the 
glove to swell out the fingers, and 
hang it up by a thread to dry. 
This method is not suitable for 
delicately-dyed gloves. (4) Melt 
3 oz. good hard soap in 1 oz. warm © 
water, 1 oz. hyposulphite of soda 
and 1 dr. ammonia water, and 
apply to the stretched glove with 
a flannel. 

GLUE. Good glue should be 
of a transparent orange colour, 
and free from spots. It should 
only dissolve in hot water, not 
cold. A shaving cut from it 
should be like horn, not brittle; 
and it should not bend in the cake, 
but snap violently. .To test the 
glue after it is melted, make a 
good joint between two pieces of 
wood; glue, clamp, and leave them 
for 24 hrs.; then drive in a chisel 


eee es 


and fill the inner pot of the 


GLUE 


at the end of the joint, or a wedge 
all along it, when the wood should 
split anywhere but at the joint. 
Glue in the cake may be preserved 
for any length of time if kept dry; 
but if it be melted down with 
water, it looses its strength to a 
great extent after the first week. 
Break up the glue into small pieces, 
glue 
kettle three-quarters full. Then fill 
up with water, and leave it to soak 
for at least 10 hrs. Then pour 
water into the outer pot, and 
place it over a fire. Leave the 
pot on till the glue begins to boil 
the first time, after that it will be 
sufficient to melt it only. Then 
add water till the glue is of the 
consistency of fresh cream. The 
glue should only be applied very 
hot in a thin layer to both edges 
of the joint, which must be quite 
cleaa, and if possible hot; slip the 
one piece backwards and forwards 
over the other till all air and most 
of the glue is expelled, and then 
clamp them together under pres- 
sure, and leave for at least 12 
hrs., preferably 3 or 4 days. To 
separate a glued joint, wrap a 
wet rag round it, and leave for 
from 12 to 24hrs.; then rap one 
side, holding the other firmly. If 
the joints do not separate, apply 
hot water with a cloth. 

GLUE: BOOKBINDER’S. 
Mix 4 oz. starch with 6 oz. water, 
and 6 oz. spirits. Mix 2 oz. best 
liquid glue with 2 oz. turpentine, 
and stir it in, and mix with the 
starch solution. 

GLUE: EMERY. To fasten 
emery powder to leather, boil the 
glue very thin, add a little milk, 
raise the pile of the leather, and 
put on the glue. Then sprinkle on 
the emery powder. 

GLUE: FIREPROOF. Mix a 
handful of quicklime in 4 oz. linseed 
oil, boil it to a paste over a fire, 
spread it out on plates, and leave 
it to dry slowly. This may be 


11 


dissolved, and used as ordinary 
glue. 

GLUE: FLEXIBLE. Mix 1 
part glycerine with 4 parts common 
glue, and use in the ordinary way. 

GLUE: ISINGLASS. (1) Dis- 
solve broken isinglass in boiling 
water; strain it through calico, 
and then evaporate it till it turns 
hard and dry when cold. Then 
heat up and add a little alcohol. 
(2) Boil and strain 1 lb. glue. Boil 
and strain 4 oz. isinglass, and mix 
it with the glue and 4 Ib. sugar. 
Then boil the whole till thick, and 
cast it into moulds. When this 
glue is cold, it may be cut up into 
small pieces, which are readily 
dissolvable in water, and the glue 
is then ready for use. (3) Place 
isinglass in a bottle, and place the 
bottle in boiling water. Add acetic 
acid drop by drop until a thick 
paste is formed. Stir well, and 
when it is required for use put the 
bottle in boiling water. 

GLUE: LEATHER TO 
METAL. Soak 2 oz. coarsely- 
crushed gall nuts in 1 Ib. distilled 
water for 6 hrs., then filter through 
linen. Pour 1 lb. cold water on 1 
Ib. glue, and leave for 24 hrs.; 
then heat to form concentrated 
glue. Coat the leather with the 
warm nut gall extract, put the 
glue on the warmed and roughened 
metal, lay the leather on, keeping 
it in place under pressure, and 
allow it to dry in the air. 

GLUE: LIME. Dissolve 3 parts 
glue, broken into small pieces, in 
12 to 15 parts saccharate of lime, 
by warming. This glue remains 
liquid when cold. The consistency 
is varied by varying the proportion 
of the saccharate of lime. 

GLUE: LIQUID. (1) Break up 
12 parts best glue, and soak it for 
24 hrs. in 32 parts cold water. 
Then melt it in a glue-pot, and let 
it boil. When it liquefies, add 2 
parts hydrochloric acid, and 3 parts 
sulphate of zinc, and thoroughly 


112 


mix. Keep it in a bottle with an 
oiled cork. (2) Mix glue in the 
ordinary way and add (a) nitric 
acid, (6) hydrochloric acid, (c) 
chloride of zinc, (d) vinegar. 
Vinegar is often added in larger 
quantities to make mucilage. 
These acid or liquid glues are 
good for attaching paper to glass 
or metal. 

GLUE: MARINE. (1) (a) Dis- 
solve 3 5 eae powdered shellac in 
pure ether; dissolve 1 part india- 
rubber in pure ether, and mix the 
two liquids together. (5) Dissolve 
4 oz. finely-shred rubber in 2 Ib, 
coal oil, and then add 4 Ib. 
powdered shellac. Heat and mix, 
and then pour out into moulds to 
form cakes when cold. Apply as 
common glue, and use pressure. 
(2) Place 1 part finely-shred india- 
rubber in a linen bag, and suspend 
it in a jar half-filled with 12 parts 
rectified petroleum, so that it is 
only half-immersed. Leave it thus 
for about two weeks in a warm 
place, when the liquid will be 
made. Melt 1 part asphaltum, 
and then mix it in the rubber 
solution at a gentle heat. When 
mixed pour out into moulds to 
set. To use, heat to about 300° 
Fahr. slowly, so that it does not 
burn, and if possible heat the 
article to be joined to 200° Fahr. 
Apply very thin, and leave to set 
under pressure. (3) Dissolve 4 oz. 
gum-sandarac and 4 oz. gum- 
mastic in 8 lb. methylated spirits. 
Add 8 oz. turpentine to 1 lb. best 
thick glue, and filter through 
muslin. Mix all together, and 
apply as ordinary glue, letting it 
dry under pressure. (4) Add a 
small quantity of bichromate of 
potash to the water with which 
the glue is mixed. 

GLUE-POT. Support an iron 
pot round the rim by a larger ex- 
ternal pot, and drill afew smallholes 
near the top and half-way round the 
inner pot. When the water boils 


GLUE—GOLD 


in the outer pot, the steam will 
pass out through these holes and 
prevent the glue hardening on the 
edge where the surplus glue is 
pressed out of the brush. If the 
holes were drilled all the way 
round, it would be awkward to 
empty the glue out. 

GLUE: HOW TO PRESERVE. 
To prevent glue turning musty or 
mouldy, add sufficient carbonate of 
soda to give it a strong smell; or 
carbolic acid; or extract of cloves. 
Glue freshly mixed, or at most not 
more than a week old, is much 
stronger than glue which has been 
made some time. 

GLUE: STAMP. Dissolve com- 
mon glue, and evaporate down in 
the glue-pot till very thick. Add 
an equal amount of glycerine, and 
continue evaporating till all the 
water is driven off; then pour it 
out into moulds, or on a marble 
slab. This is used for stamps, 
printers’ rollers, !galvano-plastic 
copies, etc. ‘Sweet glue” is 
made in the same way, only sugar 
is used instead of glycerine. 

GLUE: WHISKY. Break up 
the glue and put it in a glass- 
stoppered bottle. Cover it with 
whisky ; shake it up, and leave for 
three or four days. If the glue be 
not all dissolved, add more whisky ; 
but if too much whisky be used, 
the glue will separate out in a 
white viscid substance. This glue 
remains liquid except in very cold 
weather, when it should be placed 
in warm water. 

GLUE: WHITE. Cover thin 
pieces of glue and isinglass with 
alcohol for 24 hrs. Melt over a 
fire, and then add powdered chalk 
till opaque. 

GNAT OINTMENT. Mix 1 
part olive oil and 2 parts tar oil, 
and anoint the face and hands with 
this mixture. If already bitten, 
rub over the spots with ammonia. 

GOLD: TO CLEAN. Mix 40z. 
chloride of lime, 4 oz. bicarbonate 


GOLD—GRAPFTING 


of soda, and 1 oz. common salt in 
3 lb. water, and keep it in a closed 
bottle. The gold should be im- 
mersed in the liquid for some little 
time ; but if it be very badly stained, 
heat it before immersion. 

GOLD POWDER. Grind up 
gold leaf with honey or thick gum 
in a mortar; then remove the 
honey by mixing it up with water, 
and decanting several times, leaving 
the leaf as powder behind. 

GOLD: TOTEST. (1) Where 
not noticeable, make a scratch that 
would penetrate through plate, and 
drop on nitric acid. If pure gold 
the metal and acid will be un- 
affected; if impure gold it will 
only be slightly discoloured ; 
whereas if a base metal, such as 
brass, a violent chemical action 
will take place, the acid turning 
bright green immediately. Nitric 
acid turns silver black; the more 
adulterated the metal is the 
.greener will the spot left be. 
(2) Slightly wet the scratch and 
rub over it with lunar caustic. If 
the metal be gold or silver, the 
mark will be faint; if inferior, it 
will become black. 

GONG : HOUSE. Turn apiece 
of hard wood tapering from 8 in. 
‘diameter to 14 in. diameter, and 
bind No. 6 B.W.G. steel spring 
wire round it in a spiral. Then 
pull it off the wood, and press the 
spiral down flat, the wire having 
been wound so that the coils now 
almost touch. Bolt it flat between 
two iron plates; make all cherry 
red, and plunge into cold salt- 
water. Then polish, and temper 
blue on a sand bath. [See TEMPER- 
ING] 

GONG: OUTDOOR. Cut a 
length of 16 ft. from a 1}-in. bar 
of iron or spring steel, and taper 
the last 4 or 6 in. of each end 
gradually off to a point. Bend it 
to the shape shown in the illustra- 
tion, making the two arms equal 
in length and each about 4 ft. long, 


intimate contact. 


113 


the ends being bent to circles about 
4 in. in diameter, and the loop at 
the top being made to suspend it 
by. Then thoroughly 
polish it all over, re- 
moving all scale. If 
struck with a wooden 
hammer the sound will 
be duller than that 
produced by striking it 
with metal, but it will 
be heard as far. A gong thus 
made can be heard in the country 
under favourable circumstances for 
over a mile, the distance depending 
to a great extent on the direction 
and force of the wind. 
GRAFTING. Cut the scions 
from perfectly-ripened shoots of 
last year’s growth as soon as the 
buds begin to swell, though only 
one bud is left on each scion asa 
rule. The scions should be less 
advanced in vegetation than the 
stock to which they are to be 
grafted. Bury them in moist sand, 
and then graft as soon as the 
stock begins to push vigorously. 
To make a successful graft it is 
most important to bring the inner 
barks of the stock and scion into 
When once the 
wood is cut, the graft should be 
made as quickly as possible. 
Cleft: The common _ method 
known as cleft grafting is shown 
in No. 1. Cut the stock with a 
fine saw, and split down with a 


= 


sharp clean knife or chisel. Make 
the scion of wood formed in the 
previous year, and wedge-shaped 


114 


at the butt. Hold the slit in the 
stock open with a narrow hard 
wood wedge at the side, place the 
scion in, and gently remove the 
wedge. Be sure 
® that bark touches 
fig bark. If the graft 
ji” be small, bind it 
firmly with string, 
and cover it with 
grafting wax [see 
GRAFTING WAX], or 
bind with strips of 
cloth spread with 
the wax. 

Saddle: 
Gig grafting, as shown 
wig in No. 3, is a good 
method when the 
stock and scion are 
of about the same 
size. The stock should be cut 
wedge-shaped, and then the scion 
cut to fit it. To bind the graft in 
place see Cleft. No. 4 shows a 
combination splice of ‘‘ Splice”’ and 
‘“‘ Saddle” grafting. 

Splice: Splice grafting, as shown 
in No. 2, is a good method when the 
scion and stock are of the same 
size. Cut the scion to a wedge, 
split the stock, and then cut out 
the stock to fit the scion. Leavea 
bud on the upper end of the stock, 
and one on the lower end of the 
scion. To bind the graft in place 
see Cleft. 

GRAFTING CHERRY. Cut 
the scions before the buds begin to 
swell, and put them in a cool dark 
cellar, covering them with damp 
moss. When all fear of severe 
frost is over, graft [see GRAFTING 
(Cleft)] one-half or two-thirds of 
the branches of a healthy tree, 
grafting the remaining branches 
next year. Insert the scions into 
branches 1 to 2 in. diameter. 

GRAFTING VINE. Graft in 
early spring immediately the sap 
begins to move. Healthy, well- 
ripened wood must be used, usually 
the most successful being when 


Saddle 


Ra © 


GRAFTING 


the stocks are the size of a lead 
pencil. If the soil be clayey and 
wet, spread a few shovelfuls of 
sandy soil round the graft. Re- 
move the soil around the stem 
down to the roots, saw it off about 
4 in, above that spot, and then 
split square across, as in top 
grafting orchard trees. Cut the 
scions wedge-shaped, and set them 
in the cleft. Ifthe stock be large, 
say over 1 in., put a scion in on 
either side of the cleft, bark to 
bark. Wind round tightly with 
cotton twine, bank up with earth 
till only the bud is left above the 
ground, and cover with an in- 
verted flower-pot till the graft has 


thoroughly taken. A graft may be 
made in a branch, which can be 
conveniently layered, burying the 
graft under the ground. In grafting 
very large stocks, cut the scion. 
bevelled and tapering to a point, 
cut the stock to fit, and insert with 
pressure. The cleft may be wedged 
open, so that when the wedge is 
removed the scion will be gripped 
firmly. A good idea will be 
obtained from the _ illustration. 
Bind firmly in place with bast, and 
cover the parts above the graft 
with clay worked up to a putty. 
Raise light earth over all up to the 
bud, or if there be danger from 
frost, 2 in. above. 

GRAFTING WAX. Bandage: 
Melt together 3 parts resin, 3 parts 
beeswax and 3 partslard. Tear the 


; GRAPES—GRIND TOOLS 


rags into strips 14 to 2 in. wide, 
and drop them into the wax while 
melted. Leave tocool sufficiently, 
so that when the rags are taken 
out the wax sticks to them, and 
they are well glazed. 

Common: Melt together 4 Ib. 
resin, 2 lb. beeswax and 1 lb. 


‘tallow. Pour the mixture in water 


at blood heat, oil the hands, and 
work the wax till it becomes pale 
yellow. To use, place the wax in 
a bucketful of tepid water. 

French: (1) Melt together 1 Ib. 
resin, 1 lb. pitch, 10. oz. beeswax, 
8 oz. tallow and 8 oz. yellow ochre. 
To use, warm till liquid, and apply 
withabrush. (2) Melt and mix 1 lb. 
pitch, 1 lb. beeswax and 2 lb. cow- 
dung. To use, warm till as soft 
putty. 

Liquid: For covering wounds, 
etc,, melt together 1 Ib. resin, 8 oz. 
beeswax and 8oztallow. Dissolve 
as much shellac as possible in 5 
oz.alcohol. Mix these two liquids 
together, and reduce to the con- 
sistency of paint by the addition 
of more alcohol. Apply with a 
brush. 

Standard: Make the same as for 
Common, only for 1 Ib. tallow 
substitute 4 oz. tallow and 4 oz. 
linseed oil. Ifthe wax be too brittle, 
add more oil; if too liquid, add 
more resin. When only a few grafts 
are to be made, clay kept in place 
with tow may be used. 

GRAPES: TO PACK. Leave 
the grapes 24 hrs. after being 
gathered before packing. Then 
pack them in the box as level as 
possible, sift in cork dust and 
temporarily fixonthe cover Place 
the box on its end, and jar it. 
Then take off the cover, and fill 
the cavity with more grapes and 
cork dust, and then nail down the 
top permanently. 

GREENERY. Procure an un- 
glazed earthenware flower-pot, and 
soak it in water; while wet sprinkle 
the surface with Timothy seed. 


115 


Fill it with water, and set it in a 
dark place for a few days. 

GREENERY: BOTTLE. Cover 
a bottle fairly tightly with flannel, 
soak it in water and then rub over it 
mustard seed, flax seed, cress seed, 
etc. Hang the bottle up in the 
window of a warm room, and 
sprinkle it with water daily. 

GREENERY: CONE. Sprinkle 
grass seeds, etc., into the openings 
of an old pine cone which has shed 
its seeds. Cover slightly with fine 
sand, and place the cone in a wine- 
glass filled with water. In a few 
days the cone will have closed up 
its openings—in a few days more 
the grass will sprout. 

GREENERY: GOBLET. 
Cover the bowl of a wineglass, the 
stem being broken off, with red 
flannel. Place it mouth down- 
wards in a plate of water, and 
keep the plate always full. Tocover 
with seeds see GREENERY (BOTTLE). 

GREENERY: SPONGE. Sow 
a sponge full of rice, hemp, canary, 
grass and other seeds. Place it in 
a shallow dish in which a little 
water is continually kept. When 
the seeds have well sprouted, 
suspend the sponge by cords, and 
water daily. 

GREENERY: WHEAT- 
HEAD. Soak an ear of nearly- 
ripened wheat, leaving the stem 
about 6 in. long, for 12 hrs. in 
water; then put it in a vase, and 
place the vase ina dark cupboard 
until the grain sprouts. Then bring 
it out into the room. 

GRIND TOOLS: TO. Hold the 
tool square across the stone, and 
keep a good supply of water, or 
the tool may be burnt. Grind 
wood chisels to a bevel of 30°; 
plane irons 35°; turning chisels 
45°; moulding chisels, or chisels 
used for very hard wood or ivory 
from 50° to 60°; flat engineers’ 
chisels 65° to 85°. The finer a tool 
is ground the cleaner is the cut, 
but it dulls and breaks more readily 


116 


than a coarser ground tool. 
Hammer heads should be ground 
flat for driving nails, but convex 
for using with an engineer’s chisel, 
etc. 

GRINDSTONE. 
stone under shelter. Do not let 
the bottom of the stone rest in 
water when not in use. This can 
be arranged by hinging the trough 
at one end, and having a strap at 
the other end with two holes in it, 
so that when the trough is raised, 
and the lower hole in the strap 
pressed over a pin, the bottom of 
the stone is in water. When not 
in use, lower down the trough, and 
hitch the pin into the top hole of 
the strap. Another way is to have 
two cans with taps near the bottom, 
and a tap fitted in the bottom of 
the trough. Place one can over 
the stone, and turn on the tap so 
that it drips on to it. Place the 
other can to catch the drain from 
the trough. When the top can is 
empty, the two cans should be 
exchanged. Distribute the wear 
evenly all over, and do not keep a 
narrow tool in one place when 
grinding. When a stone is driven 
by a treadle it should be rehung 
now and again, as most of the 
grinding comes on the down stroke 
of the crank. 

GRINDSTONE: TO TRUE. If 
a grindstone becomes eccentric, it 
is best to true it up, if possible, 
with a special tool with a small 
rotating wheel made for the pur- 
pose. A rather laborious method 
is to turn the stone round and 
mark the high parts with a piece 
of chalk. Then true up as near as 
possible, chipping with a cold chisel. 
Repeat the chalking and chipping 
till the stone is circular, but rough. 
Then finish by holding an old square 
file or a piece of gas barrel against 
the stone, turning the metal round 
and round so as always to present 
a new sharp edge, and running the 
stone dry. Another way after 


Keep a grind- 


GRINDSTONE-—-GUTTA-PERCHA 


roughly chipping is to fix a long 
stout piece of wood, as broad as the 
stone is wide, so that it can be 
levered against the stone. Tie the 
long end of the lever to some fixed 
object with a rope, and insert a _ 
large flat piece of iron between 
the other end and the stone. 
Rotate the stone, and lubricate with 
sand and water. The lever must 
be so stiff that there is no spring 
in it. 

GROOVING AND REBAT- 
ING. When it is required to cut 
a groove for a feather to fit in, as 
for instance in match-boarding, or 
the sliding motion for the frame of a 
camera, it is best 
to fit up a small 
circular saw in a 
lathe. If this be 
impossible, knock 
the scriber out of 
an ordinary gauge, 
and wedge a piece 
of saw blade in, as 
shown in the illustration. Another 
way is to fix the board in a vice with 
another board behind it, and then 
using a thin distance piece, cut a 
groove with a tenon saw. 

GUN: HOW TO CLEAN. Ob- 
tain good powder, and when not in 
use place a well-fitting cork in each 
barrel. To clean use tow wrapped 
on an elastic rod. Dip it in hot 
water, and rub backwards and for- 
wards, then rinse out, and rub 
again till the tow comes out quite 
clean. Dry with tow, place near a 
fire, and then rub with slightly 
oily tow. 

GUN RAMROD. Split the rod 
from straight-grained greenheart, 
hickory or similar wood. Plane it 
up perfectly square, then plane off 
the corners till it is a tight fit. 
Make a good working fit with sand- 


paper. 
GUTTA-PERCHA: HOW TO 
CLEAN. Rubover with a mixture 


of soap and powdered charcoal, and 
polish with a dry, soft, clean cloth, 


GYPSUM—HAM 


GYPSUM. Mix 4 per cent. 
powdered marsh mallow root with 
gypsum which hardens in 1 hr., and 
it can then be turned or cut. An 
addition of 8 per cent marsh mallow 
to gypsum can be painted or 
polished. 


. HAIR-BRUSHES: HOW TO 
CLEAN. Dissolve } oz. soda in 4 
gal. hot water. Comb the loose hairs 
out, and dip the bristles only, not 
the back, in the hot water several 
times. Rinse in cold water, and 
put near a fire, or in the open air, 
todry. 1 teaspoonful of ammonia 
water, or a little saleratus, may be 
substituted for the soda. 

HAM BARREL. Selecta barrel 
widest at the bottom and gradually 
narrowing to the top, not bulging 
in the centre. Only use sweet 
barrels; and if meat has been 
spoiled in a barrel, never use it 
again for storing or pickling. Do 
not use a barrel that has been used 
for any other purpose. Let all 
animal heat go out of the flesh 
before packing. (1) First put a 
layer of rock salt 1 or 2 in. deep,’ 
then pack in a layer of pork as 
tightly as possible, then more salt, 


then another layer of pork, and so 


on till full, and fill all the crevices 
with rock salt. Fill up with soft 
water to which 4 Ib. saltpetre may 
be added, and put a weight on the 
top to keep the meat immersed. 
Keep the brine strong by occasion- 
ally adding more salt. (2) The 
same as for No. 1, only pour in 
brine as strong as salt will make 
it instead of water. 

HAM: HOW TO CURE. The 
pork barrel should be kept in a cool 
place. (1) For 100 lb. meat, mix 
8 lb. Salt, 4 oz. saltpetre, and 14 
Ib. sugar in 4 gals. water, and steep 
the meat in it for 4 weeks. To 
keep the meat after warm weather, 
the pickle must be boiled. By 
using 2 oz. instead of 4 oz. salt- 
petre, the brine may be used for 


117 


beef to be dried. (2) For 500 Ib. 
meat, mix 1 lb. dry and finely- 
powdered saltpetre, 1 peck salt, 1 
lb. brown sugar and 1 qt. molasses. 
Rub the meat well with this mix- 
ture, and pack it skin downwards. 
After being in salt 3 or 4 weeks, 
take the meat out, wash, dry and 
hang it for smoking. (3) Mix 7 lb. 
salt, 3 oz. saltpetre and 6 oz. red 
pepper in 4 gals. water. Pack the 
hams fairly loosely in a barrel, 
scald, and skim the pickle, and 
cover the hams with the pickle. 
Leave them to pickle for 6 weeks, 
take them out, wash them, and 
hang them up to drain for a day; 
then smoke. (4) Rub in 1 table- 
spoonful saltpetre to each ham, 
where the leg is cut off, on the 
flesh side, 1 dessertspoonful for 
each shoulder, 4 dessertspoonful 
for each middling and jowl. To 
salt, pack 4 in. thick salt on the 
flesh side. Lay the hams on the 
floor first, next shoulders, next 
jowls, last middlings, having previ- 
ously removed the spare ribs. Lay 
strips of plank a few inches apart 
over each layer, and leave for 6 
weeks. (5) Mix 3 bushel salt, 3 Ib. 
brown sugar, 24 lb. saltpetre, and 
1 qt. best molasses. Rub the 
pieces well with the mixture before 
wetting them for pickling. Take 
the meat out of the pickle once 
a week for 6 weeks. The first two 
times the meat is taken out, add 
a plate of alum salt to the pickle. 
The same brine, if it remain sweet, 
becomes better year after year. 
HAM: HOW TO SMOKE. Set 
a hollow log, or a cask with both 
heads removed, over a pit with 
sloping sides, dug large enough to 
hold the fire pan. Hang the hams 
on sticks, which should be sup- 
ported across the top of the log. 
Fit a cover over the top resting 
on these sticks, so that the smoke 
will pass slowly but freely out 
between the top of the log and the 
cover. Fit the log in the ground, 


118 


so that no smoke can escape at 
the bottom. Build the fire of damp 
hard wood, sawdust and some 
shredded peat in a pan. In cold 
weather smoke twice a day; in 
warm weather once. 

HAM: HOW TOSTORE. Store 
ham in a cool place in one of the 
following ways: (1) Place the ham 
in a strong muslin bag, and put it 
in dry chaff or hay. Examine it 
occasionally, and if it be damp, 
renew the hay or chaff. (2) Place 
the ham in a dry barrel, and cover 
it with wood ash. (3) Leave the 
ham hanging in the smoke-house. 

HAMMER. Do not break 
stones or hard substances with the 
hammer. For driving nails, etc., 
the face should be flat, so that a line 
across the face will run parallel 
with the centre of the shaft. 
Engineers’ hammers should have 
the face convex. The shaft should 
be made of best straight-grained 
ash. To fit, rasp the end of the 
shaft down till about the right 
shape and size for the head to fit 
on. Drive the head on, and see if 
it beds square all ways with the 
shaft; if not, take it off and file 
away where the head has marked 
the shaft on the side necessary. 
Repeat again and again till the head 
sets perfectly square, and drives 
evenly and firmly on the shaft. 
Take off the head, and saw a slot 
down the centre of the shaft from 
the end to the bottom of the rasp 
marks. Put the head on, and 
wedge up tightly with a finely- 
tapered ash or oak wedge. Cut off 
square at theend. Nowshape the 
handletosuit the hand,whichshould 
be widest about two-thirds up. If 
the shaft should work a little loose, 
soak the head end in water for a 
few hours. If the head should 
work loose even then, drive in a 
taper S-shaped wedge made from 
a piece of mild steel plate. The 
steel wedge will bind the shaft and 
the wooden wedge firmly together. 


HAM—HARROW 


HARNESS_ BLACKING. 
When harness’ turns’ brown, 
thoroughly wash the surface with 
potash water, and then apply the 
blacking. [See BLACKING (Har- 
NESS)] Occasionally rub with 
tallow and lampblack to keep the 
leather pliable. 

HARNESS KNIFE. A strong 
knife is mecessary for cutting 
leather. A good knife may be 
made from a _ scythe blade, or 
similar piece of steel. Grind the 
blade to shape, and fit on a 
handle made of tough wood riveted 
through the metal and wood. 

HARNESS: TO REVIVE. Mix 
1 heaped tablespoonful lampblack 
and 2 oz. beeswax in 1 pt. oil. 
Leather varnishes are as a rule 
harmful to the leather. [See also 
BLACKING (HARNESS)] 

HARNESS, WASHING. 
Remove all mud by dashing water 
over it, and do not rub any off. 
Mix a little Castile soap in warm 
soft water, and having unbuckled 
every strap, apply it with a sponge; 
then go over with an oily cloth. 
Old harness which is very dry 
should be well oiled before it is 
washed. 

HARROW : SLAB. Cuta thick 
heavy slab 7 ft. long, and draw a 
line parallel and near to the front 
edge. Make the teeth of §-in. iron, 
and let them project 4 in. below the 
slab. Mark off 20 points 3% in. 
apart on the line, and put the teeth 
alternately 1 in. in front and 1 in. 
behind each of these marks. The 
holes should be bored or mitred for 
the teeth to drive in tightly, and 
the teeth should be sharpened 
before being driven in. Attach a 
stiff tongue with the rounding side 
of the slab down. Ride,or put 
weights on it. Sap the drag half- 
way as you go round, the same 
way as it was ploughed. [See also 
ROLLER (SUBSTITUTE FOR FIELD)] 

HARROW: THIRTY~TOOTH. 
(1) Cut four pieces of well-seasoned 


: 


‘short pieces, 


HAT—HEAL1H LIPT 


oak 3 in. x 3 in. x 5 ft. long for 
outsides. Cut two pieces of the 
same material 5 ft. 6 in. long for 
centres, and plane all up square. 
Lay three pieces in the right order, 
and mark off five points in each 13 
in. apart for the teeth, leaving 4 
in. over at each end of the two 
Put bolts or rivets 
through the ends of each bar to 
prevent it splitting. The cross- 
pieces should be made of oak 3 
in. wide x 1 in. deep x 2 ft. 3 in. 
long. They should be mortised 
midway through the bars and in 
between the two outside teeth at 


each end. Make the hinges of iron 
rod long enough to run through 
the section from side to side and 
to take a nut. Make a lip on the 
pivot part of the hinge, so that the 
sections will not go together except 
when one half is lifted perpendicu- 
larly. This prevents unhinging 
on rough ground. (2) A lighter 
harrow may be made similar to 
No. 1, but the outside bars to be 
4 ft. long, the centre bars 4 ft. 4 in. 
long, and each section to be 2 ft. 
wide over all, Pitch the teeth 11 
in, apart, the outside ones 4 in. 
from the end. 

HAT: TO DRY A WET SILK. 
Leave the hat to dry partially, 
then wrap a dry towel round it, 
moving the towel a little way with 
the lay of the silk. When nearly 
dry rub with a hot cloth till glossy. 

HAY RACK. Cut two pieces 
of 2-in. x 4-in. oak as long as the 


119 


waggon requires, for bed-pieces, 
and frame together by four cross- 
pieces, each 1 in. below the top 
face of the bed pieces. Fit the two 
outside cross-pieces 10 in. from the 
ends, and the other two pieces to 
divide the space equally. The cross- 
pieces are made just so long that 
the bed-pieces fit snugly between 
the stakes of the waggon Four in, 
from each end of each bed piece, 
set upa 2-in. x 4-in. post 10 to 12 
in. long with a round tenon, and 
put a 2in. x 6 in. cross plank across 
at each end, which is long enough 
to project at least 6 in. beyond the 
outer edge of the wheels. The 
corner posts should be set up broad 
ways with the length of the planks 


CZ 


so that a good support is made for 
them. Fit two 2-in. x 6-in. planks 
across the centre of the bed-pieces 
between the wheels, and as far apart 
as possible, but having regard to 
the clearance ofthe wheels. Mortise 
each end of the four cross planks, 
and put in thin elm wheel boards, 
as shown in the illustration. Small 
poles may be bent, and substituted 
for the wheel boards. The four 
cross pieces holding the two bed- 
pieces together being 1 in. below 
the face, boards may be slipped 
through and rested on them, to 
form a solid bottom. 

HEALTH LIFT. Attach two 
pulleys to the wall 2 ft. apart, and 
about as high from the ground as 
the user’s shoulders. Attach a 
weight to oneend of a four-stranded 
rope 4 ft. long, slip it over the 
pulley, and bind a handle on to the 
other end. To make the hand- 
piece, bore holes through two 
round sticks 6 in. long near the 


120 


ends. Bind the rope about 8 in. 
from the end, and then divide the 
8 in, into two equal parts. Slip 
one division through each hole in 


the stick, and knot in place. The 
hand-pieces should reach to 6 in. 
above the hips when first using the 
lift, but should be shortened to hang 
at the breast after a little time. 
HECTOGRAPH OR GELA-~ 
TINE COPYING PAD. (1) Warm 
4 parts glue, 20 parts glycerine, 1 
part finely-powdered boric sulphide 
or kaolin, and 15 parts water in 
a water bath, and thoroughly mix; 
then add 2 drops oil of cloves, and 
pour out whilst liquid into a bottle. 
To use, place the bottle in het 
water, and when the gelatine melts 
pour it out into a shallowtray. (2) 
Melt 1 Ib. gelatine or 14 Ib. glue 
previously soaked in water till 
quite soft, and 6 lb. glycerine in 
a water bath for a few hours to 
drive off any superfluous moisture. 
Then add a few drops of oil of 
cloves to prevent it turning mouldy 
and to take away from it any un- 
pleasant smell there may be. (3) 
Soak 4 Ib. glue in 5 parts water 
and 3 parts ammonia till quite 
soft; then melt in a water bath, 
and add 3 parts sugar and 8 parts 
glycerine, and a few drops of oil of 
cloves. To use, pour the gelatine 
whilst hot and liquid out into a 


HECTOGRAPH 


shallow tray, say } in. deep, and 
leave it till it is perfectly set. 
Write on glazed paper with the 
special ink [see INK (HECTOGRAPH)], 
and use a medium nib, keeping it 
well supplied with ink. If more 
than one coloured ink be used on 
the same sheet, let one colour dry 
before writing with the next. Rub 
over the gelatine with a damp 
sponge, then press down on it a 
clean sheet of paper, and remove 
it; repeat pressing down fresh 
sheets, till the paper is only 
slightly dampened, and not wetted. 
The ink on the paper being dry, 
roll it down with a cylindrical 
ruler on to the gelatine, starting 
at one end and rolling to the other, 
using only slight pressure on the 
ruler. When the paper is down, 
go over with the hands, prick any 
air bubble there may be, and press 
the paper down. Leave the sheet 
on for from 1 to 10 mins., depending 
on the ink, and then peel the sheet 
off. Take a clean sheet, press it 
down very lightly with the tips of 
the fingers, and peel it off again 
almost immediately, when a copy 
of the original will then be found 
printed upon it. Numbers ofcopies 
may be taken in this manner, but 
the sheets taken off later must 
remain on the gelatine longer. 
To clean the gelatine, sponge it 
over with hot water immediately. 
If the ink be left for a week or so, 
it will soak into the gelatine, and a 
new series may be printed and take | 
without washing it. To make hecto- 
graph sheets, keep gelatine No. 3 
liquid, and float a sheet of blotting 
paper on the top. Immediately this 
is saturated, lift it up and drain, 
and then allow it to cool. When 
solid, dip the sheet in the gelatine 
again to get a shiny surface. This 
sheet may be used to take three or 
four series of impressions, the blot- 
ting-paper absorbing the ink in 
between, but afterwards the sheet 
becomes useless. 


1S ateree 


HEDGE—HOT-BED 


HEDGE: TO PLANT. Prepare 
the land by back furrowing and 
fertilising. Plant the sprigs 8 in. 
apart, and cultivate for three years. 
Plough a deep furrow 24 or 8 ft. 
from the hedge, the land side of the 
plough next to the hedge. Bend 
the hedge down to a horizontal 
eels diagonally with the line of 

edge, cover the tops with earth 
and tramp well down. Leave 2} 
or 3 ft. of the base of each un- 
covered. In the spring the hedge 
will send up numerous sprouts. In 
the latter part of June clip to with- 
in 6 in. of the base of the sprouts; 
the next September clip 6 in. higher, 
Clip twice a year, each time 6 in. 
higher, till of the desired height. 
It is said that a hedge destroys the 
fertility of the ground as far as the 
roots extend. 

HOE: GARDEN. To sharpen, 
file the side next to the handle 
bevel at about 30°. The hoe should 
also be filed slightly convex from 
edge to edge. 

HORN : IMITATION. Powder 
the hardest portions of ox or deer’s 
horn, and boil them in a strong 
potash lye. This soon becomes a 
paste, which may be moulded as 
desired. 
cement or filler if mixed with acid 
or liquid glue. 

HOT-BED. Make the bed in 
the latter half of February, earlier 
or later according to the season. 
Locate with a southern aspect, in 
a sheltered corner if possible, but 
if it be exposed, erect shields to 
protect it from the north and east 
winds. Make the sash in three 
sections. For the framework of 
each section use 3-in. x 1}-in. pitch 
pine, or best deal. Cut two lengths 
3 ft. 3 in. long for the top and 
bottom, and two lengths 6 ft. long 
for the sides. Mortise and tenon 
joints at the corners are best, but 
the corners may be halved, painted 
and screwed together. Down the 
centre of the frame let in a piece 


It may also be used as a }} 


121 


of l-in. square deal 5 ft. 8 in. long. 
This should be let into the frame 
#in., and 3 in. should be cut from 
the bottom of the strip at each end 
so that the'top of the strip lies flush 
with the top of the frame. The 
frame will now have two divisions 
1 ft. 4 in, broad air space. Sub- 
divide these two divisions again as 
before; there will now be four 
divisions with 74 in. air space 
between. On the centre of each 
of the three 1-in. strips nail a piece 
of 4-in. square deal. Nail the same 
down the sides of the frame, only 
z in. from the inside edge. The 
glass will thus have } in. on each 
side to rest on. (1) Cut seventy- 


Fic. 1. 


two sheets of glass 8 in. x 114 in. 
Nail the bottom sheet lapping 3 in. 
over the frame; nailthe next sheet 
lapping + in. over the first sheet, 
and soon up to the top, using six 
sheets in each row. Fix with 
brads lying sideways on the face 
of the glass, and then putty. 
Paint all joints with white-lead 
paint before fixing, and when in 
place give two or three more 
coats. Repeat for the other two 
sections. (2) Before screwing on 
the 4-in. square strips pulverise 
1 oz. sugar of lead in a little oil, 
place it in a kettle, and add 3 oz. 
powdered resin and 1 qt. linseed 


122 


oil, and heat till all is dissolved. 
Stretch muslin over the frame, 
pour the hot liquor over it, and fix 
it in place with brads. (3) Mix 
2 oz. lime water and 4 oz. linseed 
oil at a gentle heat. Beat together 
1 oz. white of egg and 2 oz. yolk of 
egg, and mix with the linseed oil 
and lime water. Stretch white 
cotton cloth of close texture over 
the frame, and apply the mixture 
as paint. Give several coats, 
allowing each one to dry before 
applying the next, till the cloth 
becomes waterproof. Cloth and 


muslin prepared as in Nos. 2 and 3 


heated by their use when under 
a strong sun, but they are not so 
durable as glass, and should be 
kept under cover, when not in use. 
The sash being made, drive four 
4-in. square pieces of pitch pine into 
the ground, to nail the frame on to. 
The two posts for the back should 
project 20 in. out of the ground, 
the two front ones 14 in. The 
sash should overlap the frame 1 
in. all the way round. Make the 
frame from 2-in. wood, so that the 
outside edges of the posts will be 
9 ft. 3in. apart lengthways, and 5 ft. 
6 in. apart breadthways. Before 
nailing on these boards, dig out 
the pit about 2 ft. deep. The 


HYACINTHS 


bottom of the pit must be well 
drained, if the bed be not made on 
gravelly soil. Fill up the bottom 
18 in. with good manure, with 
plenty of straw in it; if possible 
use manure that has never been 
moved. Shake the manure well 
to break up the lumps, and if in 
good condition, add some sawdust. 
Stamp evenly down all over the 
bed, and sprinkle over with water. 
Half leaves and half manure may 
be used instead of adding straw 
and sawdust. Cover the heating 
material 6 in. deep with best loamy 
soil. Nail the frame on to the 
posts, and cover with the sash. 
In a few days it will be ready to 


FIG. 3. 
receive the seeds. 
become too hot, which can be felt 
by placing the hand in the earth, 


If the frame 


raise the sash a little. To prevent 
the bed getting too cold, cover it 
over with straw matting, straw, 
hay or rushes. -When the plants 
are plainly discernible, put 1 in. 
blocks under the lower end of the 
sash during the day, but lower the 
sash down at night and cover with 
matting. 

HYACINTHS: MOSS FOR. 
Fill a wire or similar basket with 
moss, and bed hyacinth bulbs in 
it with one-third of their thickness © 
above. Press the moss down 
firmly, saturate the moss with 


HYACINTHS—INK 


water, and place in a cellar, or a 
cool but not cold closet. Take it 
out after five or six weeks, and 
hang it in the light. The moss 
must at all times be kept saturated 
with water. 

HYACINTHS: SPONGE FOR. 
Imbed the bulbs in an old sponge, 
and place in a china bowl. Treat 
in the same way as HYACINTHS 
(Moss FoR). When removed from 
the cellar, sprinkle the sponge with 
grass seed, to form a green bed. 

HYACINTHS: TO TRAIN. 
Make a long funnel of paper, such 
as is made by grocers, and paste 
together. Cut off the point, and 
place it mouth downwards over 


the bulb. The hyacinth will grow 


tall, and when tall enough, remove 
the funnel, and leave to bloom. 


ICE CHEST. Procure two 
boxes, one about 8 in. smaller than 
the other each way. On the inside 
of the smaller box nail cleats, and 
place movabletrays onthem. Sift 
perfectly dry sawdust 4 in. deep 
over the bottom of the larger box, 
and press it well down. Place 
the smaller box on the sawdust in 
the middle of the outer box, and drill 
a small hole through the bottom of 
both boxes and the sawdust, and fit 
in a piece of brass tube. Sift dry 
sawdust into the space left between 
the two boxes, and tamp it well 
down. Make a hollow cover to fit 
the 4 in. left at the top, and fill this 
also with sawdust. Place the ice 
in the bottom of the inner box, the 
provisions on the shelves, and the 
cover in place. Support the box 
on legs or bricks at the corners, to 
ensure air circulation below, and to 


. allow the water to drain out of the 


pipe. [See also COOLER (PROVI- 
SION)] 

ICE PITCHER. Place a sheet 
of cotton-wool 4 in. thick between 
two sheets of brown paper, and sew 
two sides together to form a cylin- 


der. Paste a top on, so that a box 


123 


will be made like a silk hat without 
a brim. Place this over the jug, in 
which the ice drink is. It must be 
low enough to rest on the table, and 
pasted at the joints toexcludeallair. 

ICE: TO STORE. (1) Level the 
ground anywhere, but preferably 
on a slight slope in the shade, and 
cover 2 ft.deep with sawdust. Lay 
the ice-blocks on the top of each 
other in the form of a square, and 
enclose with any old boards, leav- 
ing 2 ft. between the ice and the 
inside of the boards. Then fill up 
this gap with sawdust, and then 
cover the whole with 2 ft. more 
sawdust on the outside. (2) To 
store a small quantity of ice, wrap 
it up in a blanket, and hang it up 
where the air is cool and still. (3) 
Make two pockets of coarse woollen 
cloth, one about 3 or 4 in. smaller 
each way than the other. Place 
the smaller one inside the other, 
and pack between them with 
feathers. Place the ice inside, tie 
tightly round the top, and suspend 
in cool, still air. 

INK: BLACK. Copying: Steep 
and dissolve 4 Ib. gum-arabic, 4 Ib. 
copperas, % lb. sugar and 14 Ib. 
powdered nut-galls in 4 Ib. soft 
water. Leave for from one week 
in summer to two months in very 
cold weather; shake up occasion- 
ally, and then strain. 

Indelible: (1) Dissolve 1 part 
aniline black crystals in 30 parts 
alcohol, and then add 30 parts 
glycerine. (2) Dissolve 1 part 
asphaltum in 4 parts turpentine, 
and if necessary, add printer’s ink 
to temper. (3) Mix 2 parts pow- 
dered acetate of copper, 4 parts sal- 
ammoniac, 1 part lampblack and 20 
parts water. Shake before using. 

Powder or Travellers’: Mix 4 oz. 
powdered logwood extract, 12 oz. ° 
copperas, 1 lb. powdered nut-galls 
and 2 oz. gum-arabic. Add water 
to a portion of the powder to make 
ink as required; the above quan- 
tities will make 1 gal, ink, 


124 


Writing: (1) Add 4 oz. logwood 
extract to 5 gals. boiling water, and 
when dissolved, take it off the fire 
and add 4 oz. bichromate of potash 
and 50 grs. prussiate of potash 
immediately. Leave to cool, and 
strain. This makes the ordinary 
‘‘“commercial writing fluid”. (2) 
Mix 15 parts powdered nut-galls, 5 
parts ferrous sulphate, 4 parts iron 
filings, 4 part indigo, 3 parts sul- 
phuric acid and 200 parts water. 
Leave to steep for from one to two 
weeks in summer and from one to 
two months in winter, shake oc- 
casionally, and then strain. This 
makes the “ blue black ”’ ink. 

INK: BLUE. JIndelible: (1) To 
5 parts oxide of molybdenum add 
hydrochloric acid till it is dissolved. 
Dissolve 2 parts extract liquorice 
und 6 parts gum-arabic in 200 parts 
water. Mix both solutions together. 
Write with the ink, and when dry, 
moisten the places written on with 
a diluted solution of chloride of tin. 
This makes a good marking ink. 
(2) Dissolve 1 dr. crystallised nitrate 
of silver in 3 drs. ammonia water. 
Dissolve 1 dr. crystallised car- 
bonate of soda, 14 drs. powder gum- 
arabic and 30 grs. sulphate of copper 
in 4 drs. distilled water. Mix the 
two liquids together. (3) Dissolve 
1 oz. iodide of potassium and 6 drs. 
iodine, in 4 oz. water. Dissolve 2 
oz. ferrocyanide of potassium in 
water. Mix the two solutions to- 
gether, when a blue precipitate 
should fall. Filter the precipitate 
off, and dissolve it in water. This 
precipitate dissolved in ordinary 
writing ink makes it indelible. 

Writing: Mix and thoroughly 
pound 6 parts Prussian blue and 
1 part oxalic acid; then add 
enough water to bring it to a 
paste, and leave for a few days. 
Mix a little gum-arabic with water, 
and add this to the blue paste till 
of the required shade. 

INK: BONE. Mix 1 oz. 
powdered blue copperas and 4 oz. 


INK 


powdered sal-ammoniac in 2 oz. 
dilute acetic acid, and then add the 
pigment, such as vermilion for red, 
or lampblack for black. (2) Dissolve 
1 part copper in 10 parts nitric acid, 
and dilute with 10 parts water. 

INK: GOLD. (1) Mixequal parts 
iodide of potassium, iodide of lead 
and acetate of lead, and place them 
ona filter. Pour 20 times the quan- 
tity of warm distilled water slowly 
over, and asthe filtrate cools, golden 
scales will separate out. When cold, 
wash the golden scales with cold 
water, and then grind them up 
with mucilage, and bottle. The 
bottle should be shaken before use. 
(2) Mix gold dust [see GOLD POWDER] 
with thin gum-arabic water. 

INK: GREEN. (1) Dissolve 
green aniline dye in hot water, 
and add a few drops of clove oil. 
(2) Steep the inner bark of black 
oak in water till of a strong yellow, 
and then add blue ink till of the 
required shade. (3) Mix alum ina 
saffron solution, and add blue ink 
till of the required shade. 

INK: HECTOGRAPH. (1) 
Dissolve 1 part aniline violet in 1 
part alcohol and 7 parts water. 
(2) Dissolve 3 parts aniline violet 
in 3 parts glycerine, 20 parts water 
and 1 part alcohol. Violet ink is 
best for ordinary use. (3) Grind 
up in 10 parts water and 27 parts 
glycerine 3 parts aniline blue (blue), 
or 2 parts diamond fuchsin (red), 
or 2 parts eosin (red), or 4 parts 
methyl green (light green), or 5 
parts vesuvian (brown), or 4 parts 
nigrosin (blue black), and then add 
10 parts acetic acid and 10 parts 
alcohol. 

INK, INDELIBLE OR MARK- 
ING: TO REMOVE. (1) Stretch 
the marked portion over hot water, 
and then put on some tincture oi 
iodine. (2) Wet the marked portion 
with chloride of lime, and when the 
ink turns white, wash the fabric in 
ammonia water or hyposulphite oi 


| soda, and then rinse in clean water, 


ns ee ee 


INK 


(3) Soak the marked portions in 
a strong solution of potassium 
cyanide, and when the ink is 
removed, thoroughly wash. (4) 
Mix 1 part corrosive sublimate and 
1 part sal-ammoniac in 50 to 100 
parts water. 

INK: INVISIBLE. (1) Dis- 
solve chloride of cobalt, nitrate of 
cobalt or chloride of copper in gum 
or sugar water. Develop by 
warming. (2) Mix 1 part linseed 
oil, 20 parts ammonia water and 
100 parts water. The writing 
becomes visible on immersing in 
water, butinvisible whendry. The 
ink should be shaken before use. 


(3) Milk. Develop by heating. 
(4) Lemon juice. Develop by 
heating. 


INK LOOK OLD: TO MAKE. 
Infuse 1 dr. saffron in 1 pt. ordinary 
black ink. 

INK MOULDING: TO PRE- 
VENT. Add two or three drops 
of carbolic acid to % pt. of the ink. 

INK: RED. Copying: Dissolve 
1 oz. fuchsin in 30 oz. water, and 
add 1 fluid oz. glycerine or 10 drs. 
gum-arabic, and a few drops of 
creosote. 

Indelible: Dissolve 1 part platinic 
chloride in 6 parts water. Before 
writing on the fabric, size with a 
weak solution of gelatine, and then 
iron. After the writing has be- 
come dry, brush a weak solution 
of iodide of potassium over the 
marks. 

Writing: (1) Steep 8 oz. bruised 
cochineal in 1 gal. boiling water, 
and leave for two days. Boil 8 oz. 
Brazil wood in 2 gals. soft water, 
and leave for two days. Mix these 
two liquids together, and then add 
2 oz. gum-arabic dissolved in 1 qt. 
water. (2) Mix 2 grs. carmine in 
4 oz. soft water, 20 drops ammonia 
and a little gum-arabic. (3) Dis- 
solve 1 dr. saffranin in 14 oz. warm 
glycerine; then stir in 14 oz. alcohol, 
14 oz. acetic acid and then 1} lb. 
water. 


125 


INK : RUBBER STAMP. Dis- 
solve 90 grs. aniline dye, preferably 
violet, in 1 oz. boiling water, then 
add and mix 4 teaspoonful gly- 
cerine and } teaspoonful treacle. 

INK: TYPE-WRITER. Mix 13 
oz. resin in 1 lb. rosin oil, and then 
add 14 oz. soft soap. Colour with 
vermilion lampblack or any good 
and fine pigment. 

INK: VIOLET. Copying: Dis- 
solve 4 oz. methyl violet in 1 lb. 
water, and then add 34 fluid oz. 
glycerine or 10 drs. gum-arabic and 
a drop or two of creosote. 

Indelible: (1) Moisten the part 
of the fabric which is to be written 
upon with a solution of chloride of 
tin, and dry; then write over with 
chloride of gold. This gives a 
golden purple tint. (2) Dissolve 
3 drs. carbonate of soda and 3 drs. 
gum-arabic in 140z. water. Moisten 
the part of the fabric, which is to be 
written upon, with this solution, 
and then dry and iron. Dissolve 
1 dr. platinic chloride in 2 oz. 
water, and write with it. When 
dry, paint over with a goose 
feather dipped in a solution of 1 dr. 


‘protochloride of tin in 2 oz. water. 


This gives a red purple tint. 

Writing: Place 8 parts logwood 
in 64 parts water, and boil down to 
half its original volume. Strain, 
and add 1 part chloride of tin. 

INK: WATERPROOF. (1) 
Boil # to 1 oz. lump borax in 1 pt. 
clean water, and when it is dis- 
solved add 1 oz. bleached shellac 
in powder. Stir up well, and when 
dissolved add any pigment required. 
In 2 hrs. strain and bottle. This is 
useful for outdoor writing, and is 
really a thin varnish. 

INK: ZINC. (1) Dissolve 1 
part copper sulphate or 1 part 
platinium chloride and 1 part gum- 
arabic in 12 parts distilled water; 
add lampblack if required to make 
more prominent. Clean the zinc 
first with dilute hydrochloric acid 
and sand, and write with a quill 


126 


pen. (2) Mix 2 parts verdigris, 4 
parts sal-ammoniac and 1 part 
lampblack with water to a paste; 
then add 20 parts water. This 
receipt as well as No. 1 is used for 
writing on garden labels, etc. (3) 
Dissolve sal-ammoniac or muriate 
of ammonia in strong vinegar. 
INLAID WOOD: IMITATION. 
(1) Cut out the desired pattern 
from shavings with a pair of 
scissors, and glue them on toa 
board of soft wood. Roll with a 
rolling pin, while the glue is soft, 
applying as much pressure as 
possible. If done carefully, and 
thin shavings be used, the shavings 
will sink down flush with the soft 
wood. When dry, coat with best 
copal varnish, and leave for about 
three days to dry. Rub down 
with finest emery powder; give 
another coat, and leave for five 
days todry. Then rub down with 
the finest emery powder, then 
tripoli, putty powder, and finally 
polish with the palm of the hand. 
(2) Trace the desired pattern on a 
firm piece of white wood such as 
_ holly, and cut along the lines with 
a thin-bladed sharp knife a little 
way in. Fill up all the thin gaps 
with cement, or a composition of 
varnish and lampblack. Then 
stain the separate portions as 
desired; the cement will prevent 
the stain running from one section 
to another. When dry, rub down 
with the finest sand-paper, and 
stain again. Finally varnish or 
polish. Scehnée or copal varnish 
will be found very satisfactory. 
IRON : HOW TO BLACKEN. 
(1) Add strong sulphuric acid slowly, 
and stir it into turpentine till a 
syrupy precipitate is formed. Wash 
this syrup repeatedly with water 
till no trace of acid is left, and then 
filterthrough charcoal. Thissyrup 
should now be thinned with turps to 
the requiredconsistency,andapplied 
as paint. It should then be burnt 
in immediately with a gentle heat. 


INLAID WOOD—IRON 


When cool, polish with a woollen 
cloth and linseed oil. (2) Boil 
sulphur in turpentine, and apply 
with a soft brush. When dry, 
heat over a clear flame. (3) Heat 
the metal ina fire, and then rub 
over with a piece of cow horn or 
dirty oily waste. (4) Grind lamp- 
black with turps, and add the 
smallest amount of oil gold size. 
This black is usually applied to 
small work and instruments. 
IRON: HOW TO BROWN. 
(1) (a) File up the iron or steel 
smooth, using the file lengthways, 
known as “draw-filing’”’; then rub 
with three or four emery cloths, 
finishing with No. 000 to a glass 
polish. Rub off all grease with a 
piece of rag, and then drive a piece 
of wood into some convenient hole, 
leaving about 6 in. or so projecting 
for a handle. The metal must not 
again be touched with the hands, 
or come into contact with any 
grease till after the final oiling. 
Now mix unslaked lime with water 
to a thickish cream; cover the 
metal with it, and leave to dry. 
Instead of covering with the lime, 
the metal may be boiled for some 
time in soda water, or treated by 
any method which will thoroughly 
remove all grease. Mix 4 oz. 
tincture of steel, 4 oz. spirits of 
wine, } oz. nitric acid, 14 drs. cor- 
rosive sublimate, 3} drs. sulphate of 
copper, and 1% pts. soft water, and 
keep it in a glass-stoppered bottle. 
Fix a small sponge the size of a 
walnut in a piece of split wood, 
and pour out enough of the liquid 
into a saucer to thoroughly dampen 
the sponge. Brush off the lime 
from the iron or steel, or hold it in 
front of a fire to evaporate off the 
soda water, and when dry brush 
down with a file card or scratch 
brush. Dip the sponge in the 
liquid, and give even strokes up 
and down, completely covering the 
metal. Place the metal in front 
of a fire, or in some dry place at 


IRON 


a temperature of from 60° to 80° 
Fahr., and leave for 12 hrs. Now 
rub up and down with a piece of 
scratch card with light but sharp 
strokes. Then pour boiling water 
out of a kettle over the metal, 
letting the water run down it, and 
covering every part. Now scratch 
brush again, and leave to drain and 
cool, Then give another application 
of the mixture with the sponge, and 
leave in a warm place as before for 
6 hrs.; then scratch brush. Give 
another application of liquid, stand 
for 6 hrs., scratch brush, scald and 
scratch brush again. Give a fourth 
coating of the. mixture, stand for 
6 hrs. and scratch brush. Give a 
fifth coating of the mixture, stand 
for 6 hrs., scratch brush, scald and 
scratch again. In most cases this 
will be enough, but if not give a 
sixth coating, dry, scratch, scald 
and scratch again. The metal 
should now appear with a sort of 
soft brown burnish, which on being 
rubbed over with an oily rag com- 
pletes the process. This is the 
method usually adopted for brown- 
ing the barrels of fowling pieces. 
(b) Make the mixture the same as 
in (a), but leave out the corrosive 
sublimate. Then proceed as before, 
the only difference being that the 
metal must be boiled in water for 
20 mins. instead of pouring the 
boiling water over it. This method 
gives the very dark brown surface 
often seen on the barrels of rifles. 
(2) Dissolve 2 parts crystallised 
chloride of iron, 2 parts chloride of 
antimony and 1 part gallic acid in 
4 parts water. Apply the solution 
with a sponge, and leave it to dry 
in the air before applying the next 


coat, three or four coats being 


usually required. When ofa suffi- 
cient depth of colour, wash with 
water, dry and rub over with 
linseed oil. The chloride of anti- 
mony should be as little acid as 
possible. (3) Remove all grease 
with potash water. Dissolve 1 oz. 


127 


blue vitriol in 4 oz. water, and then 
add 1 oz. nitric acid and | pt. water. 
Warm the mixture slightly, and 
apply it with a sponge. Leave for 
12 hrs, in a warm place, then brush 
lightly with a wire brush and apply 
another coat. Leave for 12 hrs., 
brush and apply a third coat. 
Brush with a stiff hair brush and 
varnish. (4) Mix chloride of anti- 
mony with olive oil to the consist- 
ency of cream. Warm the metal 
and apply the mixture. Leave on 
till the browning is of the required 
shade. A few drops of nitric acid 
may be added to the mixture, which 
will hasten the process. 

IRON: HOW TO BLUE. (1) 
To blue large articles, such as the 
barrels of revolvers, first give a 
glass polish, and then remove all 
grease. Make a pan from a piece 
of iron plate, say 3 in. larger each 
way than the article to be blued; 
fill it with charcoal and place it 
over a medium fire, letting it get 
black, but not red hot. Rub the 
piece of metal to be blued with dry 
lime on a cloth, care being taken 
that the hand does not touch it 
from this first application till com- 
pletion. Now bury it in the hot 
charcoal, and after 10 to 15 mins. 
take it out with a pair of tongs to 
see how it is progressing. Rub 
down with dry lime and a cloth as 
before, and bury it again in the - 
charcoal. Take out the metal 
periodically every 10 to 15 mins., 
and each time rub it down with 
dry lime. When examining it, do 
not keep it in the air longer than 
necessary and so let it cool. The 
steel or iron will turn blue almost 
immediately, but this must be 
allowed to pass off, and the metal 
turn bright again; the second 
bluing is the true colour. The 
longer the metal is in the charcoal 
the deeper and more permanent 
the blue will become. When of 
the desired tint, rub down briskly 
with oil. (2) To colour small steel 


128 


articles, such asscrews and springs, 
first remove all grease. Half filla 
pan with fine white sand, and place 
it over a fire. Keep running a 
bright needle into the sand, and 
when it turns the needle to the 
desired colour, take the pan off the 
fire, level the surface, and half 
cover the articles to be coloured 
in it. Place a small pair of tongs 
in the sand, and replace the sand 
bath on the fire. When the article 
turns to the required shade, take out 
the hot pliers, grip the article with 
them, and whirl it round in the air. 

IRON: HOW TO TEST. To 
test wrought iron heat it to cherry 
red, and plunge it into water at 
82° Fahr. The bar should then 
not crack anywhere on being bent 
cold over a round bar equal in 
diameter to twice the thickness of 
the iron. To distinguish between 
wrought iron and mild steel, file 
a bright spot on the metal, and 
place a drop of nitric acid on it, 
and leave for a few minutes. The 
spot will then appear ashy grey on 
wrought iron, brownish black on 
mild steel, and deep black on cast 
iron. 

IVORY: TOCLEAN. (1) Boil 
the ivory in a concentrated solution 
of rock alum for about 1 hr., taking 
it out from time to time, and 
cleaning it with a soft brush. 
Then place it in a damp cloth, and 
leave to dry. (2) Steep the ivory 
in ether or benzol, then wash, and 
then bleach in a super-oxide of 
hydrogen. [See also BLEACH BONE 
(How TO) and Bone (How To 
CLEAN)] 

IVORY : IMITATION. (1) Mix 
ivory powder, bone powder or egg 
shells with water and grind to an 
impalpable powder in a mortar. 
Evaporate off the water, and mix 
glycerine and gelatine or glue with 
it to form a putty; a little yellow 
or brown may be added if necessary 
to give an old appearance. Press 
this putty well into a previously- 


IRON—JAPAN METALS 


oiled mould, and leave to dry; if 
possible dry at a temperature of 
140° to 160° Fahr., under pressure. 
(2) Wash sound unbruised potatoes 
in dilute sulphuric acid till clean 
on the surface, and then boil them 
slowly in fresh dilute sulphuric 
acid till quite thick—almost solid. 
Wash them in tepid water, and 
then in cold till free from acid, and 
dry in a warm place. (3) Mix 
powdered ivory, bone or egg shell 
with 10 parts diamond cement and 
1 part glycerine. These imitations 
may also be used for repairing and 
filling up cracks in ivory. 

IVORY: HOW TO SILVER. 
Immerse the ivory in a solution 
of nitrate of silver, and leave it 
till it is of a deep yellow colour. 
Take it out, and immerse it in 
clear water, exposing it in the 
water to the direct rays of the sun 
equally on all sides, by turning it 
round now and again. In 3 hrs. 
the ivory will have become black. 
Then take it out, and polish to silver. 

IVORY: TO TEST. Apply a 
drop of concentrated sulphuric 
acid to the ivory, and leave for 
about 3 hr. If the ivory be pure, 
it will remain unchanged; if imita- 
tion, it will turn pink. 


JAPAN METALS: HOW TO. 
Japans are really only varnishes 
made from various gums and 
resins. After the japan has been 
applied as ordinary varnish, the 
metal is placed in an oven and 
heated to about 250° to 300° 
Fahr., at which temperature all 
volatile liquids are driven off, and 
only the hard portions of the gums 
and resins are left, which melt and 
thoroughly fuse together, forming 
a hard and glossy surface. The 
metal must first be thoroughly 
cleaned, and then from 1 to 6 coats 
of japan are usually given, each 
coat being stoved and rubbed 
down with pumice powder and 
water before applying the next. 


Lets Pee 


JAPAN WOOD—JOINT 


A clear finishing coat is usually ap- 
plied at the end over coloured ones. 
For japans see VARNISH (JAPAN). 

JAPAN WOOD: HOW TO. 
The pores of wood or other porous 
materials must first be filled with 
plaster of Paris, as if it were going 
to be polished, and then rubbed 
down till smooth with pumice 
stone. The wood is treated ex- 
actly as metal, but the stove 
should be only at a temperature 
of from 135° to 175° Fahr. If the 
surface is to be coloured, the wood 
may be stained, or coloured japans 
used. To japan a tea-tray, dissolve 
white beeswax in turpentine till 
as varnish, and then mix sufficient 
flake white with it to give it body. 
With a fine brush paint over the 
required design on very smooth 
white wood, leaving only the back- 
ground untouched. When dry 
dress over the whole surface with 
two coats black paint. When this 
is dry, brush over the whole pretty 
hard with a bristle brush dipped 
in spirits of turpentine. The white 
wax will then be removed, leaving 
the original design free, but with 
the background covered with black 
paint. It should now be varnished 
with clear japan, stoved, and then 
rubbed down with pumice powder. 
Then give another coat of japan. 
Sealing-wax varnish may be sub- 
stituted for the black paint, or put 
on before the black paint, to vary 
the colouring. 

JARS: HOW TO CLEAN. (1) 
‘For sweet-meat jars, pour in hot 
water and a tablespoonful of pearl- 
ash or strong hardwood lye. For 
cooking utensils, use strong hard 
wood lye. (2) Stone jars may be 
filled with earth and buried for 2 
or 3 weeks. 

JOINT : DOVETAIL. Mark off 
a series of quadrilateral figures on 
the end of the wood, as shown by 
the full lines in Fig. 1, the dotted 
lines representing lines which have 
to be drawn on other parts of the 


129 


wood, which cannot be seen, so the 
wood must be imagined to be made 
of glass. First draw (ab) at about 
80° with the edge of the wood ; mark 
off (bc) from 4 to $ of the thickness of 
wood ; draw (cd) at 80° with the edge, 
as for (ab). Then on the flat surface 
of the board draw (xy) parallel to 
the edge, and making (xz) slightly 
greater than the thickness of the 
wood. Drop perpendiculars with a 
square from (a), (d) and (g), etc., on to 


Fia. 1. 


(xy). Draw another line on the other 
side of the wood exactly underneath 
(xy), and drop perpendiculars from 
(b), (c), etc., on to itin the same way. 
Now cut out the shaded portions, 
and the board will then appear as 
the lower board in Fig. 2. To cut 
out these pieces, saw down (ab), (cd), 
Fig. 1., etc., with a tenon saw on to 
(xy), and then cut down (xv) witha 
chisel, first working from the top, 


Fia. 2. 


and then cutting from the line drawn 
below (xv) till the portion shaded 
drops out. The chisel may be held 
slightly slanting towards the board, 
so that the edge along (xv) is left 
sharp. In a similar way all the 
shaded portions may be cut out. 
Now hold it against the board it is 
to be jointed to, as shown in Fig. 
2. Mark with a pencil all round 
each tooth (abcd), and then draw 


130 


(ae) and (df) with a square. Cut 
down (ae) to (b), and down (df) to 
(c), and then with a chisel nick the 
shaded part out, so that the tooth 
can fit in. The other portions shaded 


Be 


Fia. 3. 
should be cut out in a similar way. 
The two pieces will then appear as 
shown in Fig. 3. Drive these two 
together with glue, and when the 
glue is set plane off any projecting 
portions of the teeth. Fig. 4 shows 


Fra. 4. 

a lap dovetail or secret dovetail 
joint, because the joint can only 
be seen from one side. This latter 
joint is used for drawers, etc., 
where one surface must have a 
good appearance. 

JOINT: HALVED. The ordi- 
nary halved joint is very easily 


Fia. 1. 
made, Fig. 1 being self-explana- 
tory. On the left the wood is 


JOINT 


shown as it is cut; on the right 
the wood is shown jointed together. 
It is chiefly used for outdoor work, 
in making the framework for sheds, 
etc. Fig. 2 shows a joint which is 
a combination of the mitre and 


FIG. 2. 
simple halved joints, and is known 
as a“ mitred halved angle joint”’. 
The wood on the right is shown 
ready to fit into another piece; on 
the left a view of the joint fixed in 
position is given. This joint is not 


Fic, 3. 

really as strong as the ordinary 
halved mitre joint, but as it requires 
more care to make, the joint is 
usually as strong for that reason. 
This joint also is very neat. Fig. 
3 shows a dovetail halved joint, 
which is very strong if well made. 

JOINT: MATCH. This joint is 
usually employed for making water- 


WEKQ, ERS 


Fia. 1. FIa. 2, 
tight walls with thin boards, or for 
making one board slide on another. 
Fig. 1 shows a section of two boards 


JOINT 


fitted together. As the price of 
these boards is hardly more than 
planed boards, it does not as a rule 
pay to make this joint. For very 
small work, however, it is easiest 
for the amateur to groove two 
boards [see GROOVING AND REBAT- 
ING], and then glue them together 
with a feather, as shown in Fig. 2. 

JOINT: MITRE. Cut and plane 
_up the pieces of wood as shown in 
Fig. 1, and then glue and nail them 
together. For further details of 
making see FRAME (PICTURE: Mitre 
Foint), When the joint is glued 
together, a saw kerf may be sawn 
down, and then a piece of veneer 


Fia. I. 
glued in to strengthen it, as shown 
in Fig. 2. Another way is to cut 
out a taper slot, and fit and glue in 
a key of some tough wood as shown 
in Fig. 3. The open tenon and 


mitre joint is a combination of the 
open tenon and mitre joints as 


MS 


FIG. 4. 


shown in Fig. 4. This hardly 
needs any explanation, the illustra- 
tion showing its construction. On 
the left the wood is shown ready 
cut for jointing, and on the right 
the joint completed. The joint is 
very neat, but not so strong as an 
open tenon. 


FIG, 2. 


131 


JOINT: RULE, Thisjoint should 
not be attempted without suitable 
tools, and even then it is a very 


Fic. 1. 


hard joint to make neatly. Fig. 1 
shows the joint as applied to a table, 
the flap down; Fig. 2 shows the 
joint, the flap up. The end of the 


Fia. 3. 


piece which is horizontal in Fig. 1. 
Should first be planed up a true 
quadrant of a circle with a ridge 
on the top for the top edge of the 


FIG. 2. 


piece hanging down to butt against. 
Then groove out the piece hanging 
down with a plane to fit approxim 
ately. Cover the working surface 
of the quadrant of the circle with 
graphite, and then rotate the piece 
grooved out on it to find the hard 
places. Plane out the parts marked 
on the groove, and then rub it again 
on the quadrant, and plane out 
again. Repeat this as often as 
necessary till the two pieces bed 
well together. Then buy hinges, 
which are specially made for this 
joint, clamp the two pieces of wood 
together as shown in Fig. 2, and 


132 


screw the hinges in place. Then 
see that the joint works well, and 
if necessary ease the quadrant 
where it sticks. Then place as in 
Fig. 2 again, and plane up the top 
surface perfectly flush. 

JOINT: TENON. Square the 
two pieces of wood A and B, Fig. 
1. Suppose the sticks to be 1% in. 
square. With ascriber and square 
mark off two lines (aa), (bb) (which 
go all the way round) on the surface 
of the stick to be mortised, just as 
wide apart as the breadth of the 
tenon, i.¢, 14 in. Mark off a 
line (gg) all the way round the stick 
to be tenoned, making the distance 
from the end about 3 in. more than 


CLLLLLZD 


Fic. 1. Fra. 2. 


the depth of the mortise, .¢., 13 in. 
With a pair of dividers divide the 
face on one side between the two 
lines on the mortise into three equal 
parts, z.c., each division will be 4 
in. broad. Set the guage to the 
first mark, and draw through mark- 
ing the line (cc); make a similar 
mark on the opposite side of the 
stick. Without altering the set of 
the gauge, mark off the line (ff) on 
the two sides and the end of the 
tenon. Now set the guage to the 
other mark or 1 in. from the edge, 
and draw through making the line 
(dd), also mark off a similar line on 
the opposite side of the stick, as 
before. Now mark off the line (ee) as 


SES 


JOINT 


the line (ff) was marked. With a Zin. 
bit bore between the gauge marks 
(cc), (dd) a row of holes, but sink 
the holes only half through. Turn 
the wood over, and bore from the 
opposite side to meet the first row. 
Now cut out the mortise bounded 
by (cc) (dd) with a 3 in. chisel half- 
way through, then turn the wood 
over, and work from the other side, 
and finish up the long sides with a 
broader chisel. The mortise may 
be slightly undercut. Run a fine 
tenon saw down the inside of the 
lines, cutting out the shaded parts 
of the tenon sticks; then finish 
off smoothly with a chisel. Chamfer 
the end corners of the tenon, and 


fe 


' 
i 
ff 


ost 


see 


<<«-. 


Fra. 3. Fra. 4. 


try if it can be driven into the 
mortise. If not, take it out, and 
remove the parts which show they 
have been squeezed. When the 
tenon fits in tightly up to the 
shoulder, run the tenon saw down 
between the shoulder and mortise 
on both sides, taking care not to go 
beyond the gauge lines. Knock 
apart a little to see that the 
shoulder is cut quite down, blow 
out the dust, and drive home again. 
If all fits well, knock the tenon out, 
and bore a 3-in. hole (H) through the 
mortise from side to side within 1 
in. of the shoulder edge. Drive the 
tenon up snugly again, and prick 
holes upon the tenon through the 


JOINT—KENNEL 


holes (H) completely around the 
circle. Knock apart, and bore with 
the same bit at the point where the 
marks are made, but yy in. nearer 
the shoulder. Now cover the joint 
with white-lead paint, and put to- 
gether for the last time. Make a 
taper ash pin, slightly over } in. at 
its thick end and 3 to 4 in long. 
Drive the pin through the hole in 
the joint, assisting it by hammering 
the mortise down on to the tenon 
between each blow. Now cut the 
pin off flush on both sides. Cut off 
the } in. of tenon projecting beyond 
the mortise, and plane all flush. 
Stump mortises and tenons are 
those in which the wood is not cut 
right through in the mortise, as 
shown in Fig. 2. The open tenon 
is shown in Fig. 3. This is a 
tenon at the ends of two pieces 
of wood, and is a step between 
the halved joint and the tenon 
joint. Fig. 4 shows a dovetail 
mortise and tenon. This joint is 
very strong if well made, but not 
stronger than the ordinary tenon 
joint. Its advantage is that the 
joint is readily taken to pieces by 
driving out the two small wedges 
shown at the right in the mortise. 
JOINT: TONGUE AND 
GROOVE. This joint is shown in 
Fig. 1, where the two pieces of 
wood to be joined together are 
separate. The illustration also 


Fia. 1. 


shows two pieces joined together 
in two positions, one in the centre 
and the other at the edge. To cut 
the grooves seé GROOVING AND 
REBATING. This joint is often 
used for small chests of drawers, 


FIG. 2. 


133 


cameras, etc. A wedge-shaped 
variety, known as the dovetailed 
tongue and groove joint, is shown 
in Fig. 2. This joint is slightly 
stronger than the plain groove and 
tongue joint, but as a dovetail joint 
should be used where strength is 
required, it is not much of a re- 
commendation. It is also very hard 
to make neatly without special tools. 


KENNEL: DOG. (1) Cut two 
boards from 1-in. deal 10 in. x 3 
ft., and glue them side by side to 
make the floor 20 in. broad x 3 ft. 
long. Nail two cleats 6 in. wide 
on the bottom, and about 6 in. 
from either end, and clinch the 


Fia. 1. 


nails. Square off one end of a 3- 
in. board 10 in. broad. Measure 
up one side 27 in., and up the other 
side 18 in.; join diagonally across, 
and saw off. Saw off three more 
pieces exactly similar. Glue two 
side by side, the peaks together, 
to form the back end, and 
nail it on to the floor 
boards, as shown in Fig. 
1. Repeat for the front 
end, having first cut out 
the door hole. Place a 
ridge pole of 2-in. square 
“board from the apex of 
the front to the apex of 
the back end, and plane 
it, so that the roof will lie flush 
on the top of it; then screw it 
in place. Fit two similar poles 
from end to end, to nail the top of 
the sides and the bottom of the 
roof on to. Make the roof and 


134 


sides from #-in. match-boarding, 
and cut the roof so that it will lap 
over the ends and sides at least 3 
in. to form eaves. Felt may be 


nailed over the roof and covered 
with tar to make it waterproof. 
[SeeTaR Paint] (2) A good kennel 
may be made from an old barrel 
with one end left open. 


Fic. 1. 

KILLING BOTTLE. (1) Fill 
up a large-mouthed glass bottle, 
such as a French plum jar, one- 
fifth full with ‘lump cyanide of 
potassium, and cover with a layer 
of plaster of Paris. Shake and 
twist the bottle round, while the 
plaster is setting, to get an even sur- 
face. Cut out a circle of thick white 
blotting-paper to fit tightly over the 
plaster and press it down. Keep 
the bottle corked with an air-tight 
cork. [See CoRK (WATER-TIGHT)] 
This bottle tends to set the insects, 
and to keep them relaxed ; chopped 
laurel leaves should be placed on 
top, as explained in No, 2. (2) 
Pick a quantity of young laurel 


KILLING BOTTLE—KITEB 


leaves, which must be quite dry, 
and chop them up very small; roll 
them up in a cloth, and hammer 
them with a mallet till all the 
pieces are thoroughly bruised. 
Then place enough in to fill up 1 
in. of the bottle. Cut out a sheet 
of cardboard so that it is a tight 
fit in the bottle, and will not slip, 
up or down, and press it down on 
the top of the bruised leaves. 
KITE: BIRD. Split strips 4 in. 
sq. from strong bamboo, and bend 
and tie them in place as shown in 
Fig. 1. Make the centre stick 15 
in. long, the centre bow 18 in. long, 
bent to spread 44 in. wide at the 
widest part, the top being 2 in. 
below the top of the centre stick. 


Fic. 2. 


Make the side bows or wings of 
two sticks, each 103 in. long. Bend 
and tie with fine thread as shown, 
so that at the widest part they 
spread 43 in., and where they join 
the centre stick they spread 1} 
in. Cut out the body part from 
coloured paper 14 in. long and a 
little wider than the centre bow; 
the tail part to be left self-support- 
ing. The paper should be thick 
enough to prevent the tail doubling 
back in a strong breeze. Paste on 
to the frame. Make the wings of 


‘slightly thinner paper. Paste them 


on to the centre hoop, and cut to 
conform to the shape of the side 
bows at the base, but leave the 


KITE 


outer end 44 in. wide, and cut 
square across. Double the outer 
edge in the centre, and bring up to 
the side bows. Paste the paper on 
to the frame, and trim off.. Do not 
paste the folded outer edge except 
at the corners, for the openings 
must be left for the air to escape 
in a strong breeze. The head 
should be made of light paper, and 
of any shape to suit the taste. On 
the paper side punch a hole at the 
crossing of the centre stick and 
the centre bow, and another 44 in. 
below the first. Tie a linen thread 
103 in. long through these holes 
for the belly-band, and attach the 
running line to the band with a 
slip knot. 

KITE: BOW. Split two strips 
4 in. sq. from strong bamboo 30 in. 
and 40 in. long or in the same 
proportion. Bind the centre of 
the 30 in. strip for the bow 1 in. 
below the top of the centre 40 in. 
strip, and bring the ends of the 
bow 10 in. on each side away from 


the centre strip. Attach them to- 
gether with strong thread, and give 
the thread a twist round the centre 
strip to keep all in place. Small 
notches may be cut in the sticks 
where the thread is attached, and 
where it is twisted round them. 


135 


Tie a thread to one end of the bow, 
pass it round a groove cut near the 
lower end of the centre stick, and 
tie firmly; then pass the string 
up and tie it on to the other end 
of the bow. This completes the 
frame, as shown in the illustration. 
Lay down a sheet of light, strong 
paper, lay the frame over it, and 
cut the paper 2 in. larger all the 
way round than the frame. Bend 
the paper over the bow and side 
strings, and paste it on. Bore a 
hole 10 in. from the bottom, and 
another 10 in. from the top of the 
centre stick. Tie a strong thread 
slackly through the holes, to form 
the belly-band, and attach the 
running line to it with a slip knot. 
Cut strips of paper 4 in. wide x 6 
or 8 in. long, and bend them back- 
wards and forwards like a fan, for 
the tail. Attach 12 or 16 of them 
at their centres 3 in. apart to a 
string, and make a paper tassel 
about 6 in. long for the end of the 
tail. Attach the tail to the centre 
stick at the bottom. Tassels may 
also be hung from the shoulders. 
Another way is to attach a slack 
string to the shoulders of the bow 
and tie the tail on to the centre of 
it. Tassels at the shoulders should 
not then be used. If the kite 
plunges from side to side the tail 
is not long enough. If it will not 
rise the tail is too long, or the 
bow is not evenly bent, or the 
weight is not evenly balanced. 
KITE: THREE-STICK, 
Make the sticks of light wood 4 in. 
wide x Zin. thick. Cut two 30 in. 
long, and a third 20 in. long, and 
mark points 10 in. from the ends 
of the long sticks, and in the middle 
of the short stick. Cross all the 
sticks at the points, and bind them 
firmly in place. Cut notches across 
the ends of the sticks and tie stout 
twine all round, making a six-sided 
figure. Make the bottom 16 in. 
long, the sides 184 in. long, the 
shoulders 11 in. long, and the top 


- 


136 


8 in. long, Lay down a sheet of 
thin, strong paper, lay the frame 
on the top, and cut all round the 
paper about 2 in. away from the 
frame. Bend the paper over the 
twine, and paste it down, cutting 
away at the corners where the 
paper laps over itself. Bore two 
holes from each lower corner 5 in. 
up the sticks. Tie a string through 
these holes 14 in. long, hanging 
over the paper side. Boretwo holes 
from each upper corner 3 in. down 
the sticks, and in a like manner tie 


through them a string 8 in. long. 
Join the middles of the two loops 
with a string 20 in. long to form 
the belly-band. Hang the belly- 
band over the finger, and when 
the lower end rests on the ground 


KNOT 


and if too horizontal, lower the 
point of attachment of the running 
line and the belly-band. 

KNOT: BARKING BEND 
This knot is also : 
called the ‘ Fisher- 
man’s Bend”. It is 
usually employed for 
fastening light ropes 
to rings of about the 
same thickness. It 
is not very safe for 
a heavy strain, and 
in that case the 
“Lark’s Head’ 
should be used. 

KNOT: BINDING, For short 
lengths of binding Fig. 1 is often 
employed. A loop is formed on 
one end of the string, and then the 
rest of the string is wrapped 
firmly round it and the wood. In 
the illustration the string is bound 
on from right to left. The other 
end of the string is then slipped 
through the eye that is made, and 
the first end of the string then 
pulled. When the loop and the 
other end of the string are about 
in the middle of the binding, the 
ends are cut off flush. This can 
only be used for short lengths of 
binding, or where the binding is 
not very long, because the friction 
would otherwise prevent the loop 
being moved. Fig. 2 shows the 
method employed for long or very 
tight bindings. The binding here 


Fia. 2 


and the top end is raised about 12 
in., tie the line so that it will not 
slip to the part of the string 
resting on the finger. When the 
kite is in the air, it should rest at 
about 45°. If too vertical, raise, 


Fia. 2. 


illustrated is being bound from 
right to left. The first end is held 
by four: or five wraps, and then 
cut off; the binding is then con- 
tinued for any length. To finish 
off the string is wrapped for a few 


KNOT 


137 


turns over a second piece of wood. | bends in the rope are also not 
This piece of wood is then with- | sharp, 


drawn, and the end of the string 
threaded through the hole thus 
left. The binding is then wrapped 
over the end, and the end is then 


KNOT: BOWLINE, The bow- 
line is almost always used to tie a 
rope toa ring, etc., where an even 
strain on the rope is expected. 


drawn through tight, and cut off| The great advantage is that no 


flush. Fig. 3 shows a cheap tool 
commonly employed for binding 
with soft or annealed wire. The 
illustration shows how it is made. 
It need not be more than 6 in. long 
x lin, thick and 2 in. wide at the 


Fia. 3. 


top. A slot is cut out of the top, 
and the two pieces left projecting 
support a small reel on which the 
wire is wound. Twoor three small 
staples on the side guide the wire 
from the reel to the joint. Reel 
the wire on to the reel at the top, 
bring the end down through the 
staples, and attach it to the article 
to be bound; then by the crank 
hold the wire taut, and move 
the whole round the article to be 
bound, allowing the reel to unwind 
as the wire is used. 

KNOT: BOAT. The knot is 
also called ‘‘ Marline Spike Knot,” 


etc. It is useful, because directly 
the piece of wood is withdrawn 
the knot straightens out. The 


matter how great the strain, im- 
mediately it is taken off the knot 


Fic. 1. Fie. 2, 

can be undone, as it does not bind 
on itself. The loop made in Fig. 1, 
which is the lower loop in Fig. 2, 
prevents the knot from drawing. 
Fig. 1 shows the first step in tying 
the knot; Fig. 2 the knot complete. 

KNOT: CLOVE HITCH. This 
knot is also called the ‘“ Builder’s 
Knot,” “ Double Hitch,” etc. It is 


Fia. 3. 


Fia. 2. 
usually employed by builders, and 
it cannot come undone due to the 
friction of the parts. Fig. 1 shows 


138 


the loops which are slipped over 
the pole, and on the ends being 
pulled it assumes the hitch or knot 
shown in Fig. 2. Fig. 3 is called a 
‘Double Clove Hitch,” and is less 
liable to draw than the ‘“ Double 
Hitch.” If the ends of the rope be 
knotted close down by the hitch, 
the knot is called a ‘‘Gunner’s 
Knot”’. 

KNOT: DOUBLE TIE, This 
knot is used for joining lengths or 


light rope together. It is also the 
best knot for joining lengths of 
cat-gut for fishing-casts. 

KNOT: ENDING. This is a 
quick method for 
ending off a rope, 
so that it does not 
unravel. The rope 
is first bound for an 
inch or so a few 
inches off the end. 
The strands are 
then separated out, 
and bound down on 
the rope, as_illus- 
trated. [See also KNOT (MANROPE)] 

KNOT: ENGLISH. This knot 
is also known as the “ Fisherman’s 
Knot”. It is used for joining 
lengths of light rope and string 
together, but is not suitable for 


heavy rope, as the bends are too | to a ring, for anchors, etc. 


Fia. 1. 


sharp where the strain comes. 
Fig. 1 shows the knot with simple 
ties; Fig. 2 with double ties. This 
knot is often used for joining 
lengths of gut together for fishing- 
casts. 


{73 
if) 4 OT Ges TET) Ps) ap he 
in ee) sittaedal| BY pe 


KNOT 


KNOT: HALF-HITCH JAM. 
This knot is commonly used for 
attaching eyed trout flies to gut 


a 


The figure above shows the way it 
is tied. The gut is first threaded 
and then tied as a simple tie over 
the cast. This knot is then slipped 
down over the eye, and on the cast 
being pulled it assumes the position 
shown. 

KNOT : LARK’S HEAD. This 
knot is used for attaching a boat 


SS ‘ 
Was 


cS 


Fia. 2. 
Fig. 1 


Fyia, 1. 


Ay 


Fi. 2. 


shows a method which has the 
advantage that directly the pin is 
drawn out the knot is released. 
Fig. 2 shows the method often 
employed for attaching ropes to 
anchors. 


KNOT 


139 


KNOT: MANROPE. This knot | 1 and 2 represent the usual method 


is used for an ending, or where it 
is required that the end be the 
largest part, as the handle to a 
bucket. The rope is first bound 
some distance below the end, and 
the strands then separated out. 
They are then interlaced as shown 
in Fig. 1. The strands are then 
pulled to make the loops tidy, but 
leaving them quite loose, and inter- 
laced again as shown in Fig. 2. 
The strands are then pulled up 
tidily again, and the rope then 


Fie, 2. 


appears as in Fig. 3. The strands | for attaching boats to posts or piers. 


Fia. 1. 
brought down parallel 
with the last bends, 
and slipped under the 
yy first loops. For in- 
ig) stance, the top right- 
hand strand in Fig. 
38 is brought down 
sloping towards the 
left, and then under 
the loop in front. All 
is then pulled as tight 
~ as possible, working 
Fic. 4. from the first bends, 
with a marlinespike, and the ends 
of the strands cut off. 
KNOT: 


are then 


PIER BEND. Figs. 


Fie. 2. FIG. 3. 

“KNOT: REEF. This knot is 
also. known as ‘*‘ True Knot” and 
‘‘Sailor’s Knot’’. If this knot be 


tied incorrectly it is called a 
Fic. I. 
‘‘Grannie’’, This knot is used for 


tying lengths of small ropes of the 
same diameter together, but it 


Fic. 2. 
should not be used for heavy ropes 


or ropes of different sizes. Fig. 2 
shows a common method of uniting 
a cast to a fishing-line. 

KNOT: SENNETPLAIT. This 
plait is used chiefly for making 
the square packing to glands on 


140 


engines, for plaiting round the core 
of a whip, etc. It can be made 
with any even number of strands, 


but six or eight give the best 
results. The illustration shows the 
plait with four strands round a 


KNOT 


other loose strand and the two 
held in the opposite hand, then 
back to the first hand making it 
the lowest. The top one is then 
made the loose one, and soon. In 
an eight stranded plait three are 
held in each hand. In plaiting a 
whip, when near the end thread 
through a piece of whip-cord (SS). 
Work one end down with 4, and 
one end down with 1. Graduall 
thin off 1 and 4 till they are aude: 
and let the whip-cord take their 
place. Then gradually thin down 
2 and 3. When 2 and 3 come to 
an end, bind one end of the whip- 
cord round, and end off. 

KNOT: SPLICING. The ends 
of the ropes are opened out and 
placed between each other as 
shown in Fig. 1. They are then 
interwoven as shown in Fig. 2. 


Fic. % 
core. 2is held in the right hand, 
3 is held in the left hand, and 1 
and 4 allowed tohang loose. 4 is 
then passed behind, comes forward 
between 1 and 2, and is then 
brought down parallel to but 
below 3. 4 is then held in the 
hand, and 3 allowed to hang loose. 
1 is then passed behind, between 
3 and 4, across 4 (4 being now 
below 3), and then parallel to, but 
below, 2. 1 is then held in the 
right hand, and 2 allowed to hang 
free. 38 isthen worked in the same 
way, then 2, and then 4 again, and 
so on till sufficient has been plaited. 
If it be required to plait six strands, 
two are held in each hand and one 
allowed to hang loose on each side, 
The loose strand on one side is 
then passed behind, between the 


Fia. 2, 

The strands of one rope are lifted 
up with a marlinespike, and the 
strands of the other drawn through 
as tightly as possible. 

KNOT: TIMBER HITCH. 
This knot is also known as a “ Slip 
Knot”. This hitch or knot is held 


fast by friction, and should there- 
fore only be used when there will 
be a steady strain on the rope. 

KNOT: TURTLE. This knot 
is used chiefly for attaching eyed 
salmon flies to gut. The hook is 
threaded through the largest loop 


KNOT—LACTOMETER 


in the upper illustration, and when 
all is eased and pulled, the gut 


a 


takes the position shown in the 
lower illustration. 

KNOT: WEAVER’S. This is 
a universal knot for attaching thin 
ropes of about the same thickness 


together. It is a very common 
knot for anglers to use to attach 
the cast to the running line. 

KNOTTING. Knotting is a 
method of covering over knots so 
that the resin shall not exude from 
the knots after the wood is painted. 
(1) Apply shellac varnish. (2) 
Gouge out each knot, and fill up 
with a mixture of glue and saw- 
dust. [See Woop (GRAINLESS)] (3) 
Gild over each knot with gold leaf. 
(4) Mix equal parts red lead, glue 
and water, and apply hot. 


LACE: TO WASH. (1) Wind 
a large bottle with flannel, baste 
on the lace, taking care not to pull 
it out of shape, and cover with 
more flannel. Prepare suds of 
good soap, and cleanse by passing 
the bottle through the suds, and 
by squeezing and patting the 
flannel. Change the water and 
repeat; then remove the outer 
flannel, and rinse in clean cold 
water. (2) Wash the laces in hot 
suds, and squeeze but do not rub 
them. Rinse in clean, hot water, 


141 


and then wash again. Put } oz. 
soda in 1 gal. of water (or use soft 
water), and boil the lace in this for 
4 hr. Then wash again, and rinse 
in cold water. (3) For embroidery, 
lace handkerchiefs, etc., place in 
an open basin, and soak for 3 days. 
Then rub Castile soap on any 
spots, and set the jar over a fire 
so as to make the water come to 
a boil slowly. Rinse in cold water 
andthendry. To make the starch: 
(1) Make a thin starch, and boil 
till clear; a little spermaceti or 
white beeswax added forms a 
polish. (2) Dissolve 2 lumps sugar 
in a coffee cup. A little borax may 
be added if desired. To retain the 
colour of old lace add a teaspoon- 
ful of coffee. To iron: (1) Lay the 
lace on several thicknesses of 
flannel face down; cover with thin 
flannel and iron on this. (2) Roll 
the lace up in a towel and squeeze. 
Lay the lace on flannel, and have 
the iron as hot as possible. To 
retain the whiteness of newly- 
washed laces, place the laces in 
a box and powder with magnesia 
over them. Magnesia is also use- 
ful for removing oily stains. 

Gold and Silver: Sew the lace 
on a clean linen cloth, boil in 1 pt. 
water and 2 oz. soap, and rinse in 
cold water. If tarnished, touch 
the dull places with alcohol. 

LACTOMETER. Takea hollow 
glass tube with a bulb on the end, 
and load the bulb with shot till it 
stands upright in pure milk. Make 
a mark on the stem where the top 
of the milk rises to. Then put into 
water and make a mark on the 
stem where the top of the water 
rises to. Take a narrow slip of 
paper capable of being inserted in 
the tube. Lay off on this the 
distance between the two marks 
on the stem, and sub-divide into 
10 or 100 proportional spaces. 
Number the first division 0, the 
last division 100. Insert the paper 
in the tube so that the 0 is at the 


142 


milk mark, the 100 at the water 
mark. The depth at which it 
floats will register the percentage 
of water added approximately. 

LADDER: BUILDER’S. For 
the sides use straight-grained and 
well-seasoned deal. Fix two sides 
side by side, and mark off distances 
12 in. apart for a long ladder, or 
where heavy weights are to be 
carried; 14 in. apart for a short, 
light ladder. Bore holes through 
both sides at these points. The 
holes may be afterwards rimered 
slightly larger on the outside of 
each piece. The rungs should be 
made of ash about } to 4 in. bigger 
in diameter at the centre than at 
the sides. Cut the rungs with a 
shoulder to fit tight in the holes, 
and well up against the shoulder 
on each side. Take them out, and 
saw a Slot in each end, and paint 
from the shoulders to the end with 
white-lead paint. Fit them all 
into one side, lay the other side on 
the top, and then insert wedges, 
and fix very tight. Cut off flush 
with the outside. If the ladder is 
to be 10 to 14 ft. long, make the 
sides 4 in. wide at the bottom, 3 
in. wide at the top, and about 1} 
in. thick all the way up. Make 
the rungs from shoulder to shoulder 
from 22 to 26 in. at the bottom and 
from 15 to 18 in. at the top. The 
rungs may be fitted into 1-in. holes 
all the way up, or the top holes 
may be # in. For a 14- to 20-ft. 
ladder, make the sides slightly 
larger in the middle; at the bottom 
about 44 in. wide, in the middle 5 
in. wide, at the top 4 in. wide, and 
about 12 to 2 in. thick all the way 
up. Make the bottom holes 1 in., 
and the rungs about 2 ft. 6 in. to 
3 ft. from shoulder to shoulder. 
The upper holes may be 1 in. and 
the rungs 20 in. from shoulder to 
shoulder. 

LADDER: FRUIT, (1) An 
ordinary ladder may be used with 
a double brace support as shown 


LADDER 


in Fig. 1, These braces are almost 
as long as the ladder, and can 
swing on q bolt passed through 
both near thetop. Tenin. below the 


bolt a strong hook is fixed to each 
brace to support the ladder on 
the top or the next rung. (2) A 
double ladder, as shown in Fig, 2, 
may be made of 1 in. boards 5 in. 


Fia. 2. 


wide. The pin, acting as the top 
rung, passing through both ladders, 
should be detachable, so that the 
ladders may be used for other 
purposes. 

LADDER: STEP. Make the 
top or foot-rest 20 in. long x 9 in. 
wide x 1 in. thick. The legs 
straight 4 in. wide x 3 ft. long x 
2 in. thick. The step supports 5 
in. wide x 8 ft.8 in. long x #? in. 
thick. The side braces 1 ft. 10 in. 
long x 4 in. wide x # in. thick. 
The back brace 18 in. long x 4 in. 
x # in. thick. The ladder to be 
18 in. wide. The steps 6 in. deep 


LAMP—LEAFP 


x 18 in. wide x # in. thick are 
set out equally, and let into grooves 


in the sides, or nailed firmly on to 
cleats. ‘ 

LAMP: CYCLE. Cut the dead 
part off the wick perfectly level, 
and be sure it isin the oil. If the 
lamp does not then burn, soak a 
new wick in vinegar for 10 mins. 
Fill the lamp with good burning 
oil, which is sold exclusively for 
that purpose, and add a saltspoon- 
ful of paraffin and a small piece of 
camphor. Let the wick dry before 
placing it in the burner. 

LAMP: SAFEGUARD 
FOR. Fill lamps which are 
liable to be upset or broken with 
cotton waste, and then fill up with 
oil, If the lamp be broken, the 
burning oil will not spread. 

LAMP SHADE. Paste small 
bright autumn leaves on the inside 
of the opal shade, and arrange 
them in clusters or all the way 
round. To prepare the leaves 
seé LEAF (HOW TO VARNISH) and 
LeaF (How TO Wax). 

LAMP WICKS. Wicks should 
be renewed immediately they be- 
come dirty or clogged. If the oil 
be dirty, the wicks act as a filter. 
Wicks may be made of flannel 
folded over three times, and sown 
down each side. (See also Lamp 
(CYCLE)] 


143 


LAYER PLANTS: TO. Roses: 
Use shoots 3 or 4 weeks old. The 
cut should always be made at a 
part on the shoot where there are 
healthy green leaves below as well 
as above. Cuta slit like a tongue 
1 in. long either on the top or the 
bottom of the shoot. Lay it down 
in a trench, peg it in place, and 
then cover with earth, leaving 3 or 
4 in. of the end of the shoot out. 
If the season be dry, watering will 
be necessary. 

Shrubs, etc. Shrubs can be more 
easily layered than roses. A 
branch that has a lot of young 
ones growing off will make a 
healthy layer. Carnations can be 
increased better by layering than 
by cuttings. 

LEAF IMPRESSIONS. 
Thoroughly coat a sheet of well- 
calendered letter-paper with sweet 
oil; then wipe it dry and expose it 
to the air for a short time. Move 
the oiled paper horizontally over a 
candle, taking care not to burn it, 
till quite black. Lay the leaf on 
the blackened paper, cover with a 
piece of clean paper, and rub it 
with the fingers in all directions. 
Place the leaf on the paper upon 
which the impression is to be, 
cover with a piece of blotting- 
paper, and rub with the fingers 
as before. The impressions may 
afterwards be coloured. The 
blackened paper can be used a 
number of times. 

LEAF: SKELETON. Gather 
the leaves in July or when in full 
vigour, and gather many more than 
are necessary, for more than half 
will be damaged in the preparation. 
(1) Make a_ strong solution of 
washing soda in soft water, throw 
the leaves in, and boil for 5 or 10 
mins. When the pulpy matter 
rubs off easily take the leave3 out 
of the kettle and place them in a 
basin of cold, soft water. Remove 
all the pulp from the leaves by a 
gentle rubbing motion between the 


144 


thumb and first finger, using only 
a slight pressure, and keep the 
leaf entirely under the water whilst 
under the operation. Float the 
skeletons over pieces of paper, lift 
them out, and bleach. (2) Placea 
layer of broken cabbage leaves in 
the bottom of a jar, the leaves 
to be skeletonised in a layer on 
them; and place a second layer 
of broken cabbage leaves over all. 
Fill up with water; cover over, 
and place in a shed in the sun, and 
leave for about a month. No new 
water should be added during that 
time. Then take out some leaves 
and test if they be rotten enough, 
as in No. 1; if not, make a new 
pot of broken cabbage leaves and 
fresh water, and immerse again. 
To prepare the bleaching liquid: 
Mix 4 lb. quicklime with 14 pts. cold, 
soft water in an earthenware jar, 
and cover it up, leaving it to settle 
for 4 hr. in a cool place. Remove 
any scum there may be floating 
on the top with an iron spoon, and 
pour off the clear liquid into a 
bottle; cork tightly, and keep ina 
cool place. To bleach the skeletons, 
place them in a wide mouthed 
bottle, stem downwards, the coarse 
leaves in one jar, the more fragile 
leaves in another, and add 2 table- 
spoonfuls of the bleaching liquid 
to every pint of water. Cover the 
jar, and put the leaves to bleach in 
a warm place for from 30 mins, to 
24 hrs. When the leaves are 
white, put them into clean water 
and rinse them several times; 
then leave them to soak in clean 
water for several hours. Float 
them over sheets of paper, and 
remove them, and then dry by 
pressing them between sheets of 
white blotting-paper. 

LEAF: HOW TO VARNISH. 
It is best to wax the leaves [see LEAF 
(How Tro Wax)], but if varnished, 
any leaves which are not to be 
pasted down should be ironed, and 
then varnished on both sides to 


LEAP—LEATHER 


prevent them curling. A branch 
of leaves for a vase should not be 
ironed, but only varnished. 
LEAF: HOW TO WAX. Gather 
the leaves in autumn when red or 
yellow. To preserve them they 
may be varnished, but this renders 
the colours unnaturally bright, and 
they are liable to curl up. The 
best way is to rub a piece of bees- 
wax over the face of a warm iron, 
and then press it on top of the 
leaves. To imitate a butterfly, 
select large yellow or spotted 
leaves, and cut out the leaf froma 
print or the actual insect to shape. 
Use the centre vein or mid-rib for 
the body. After waxing, paste on 
to curtains, etc. : 
LEATHER: TO HARDEN. 
Extract all oil with bisulphide of 
carbon, and then immerse the 
leather in a hot concentrated 
solution of zinc chloride. Press 
and dry at about 220° Fahr. 
LEATHER: OIL FOR. Belts: 
Apply castor oil sparingly to 
machine belts to prevent them 
cracking. The machine should 
not be used till 30 hrs. after the 


application. 


Harness: Use (a) neatsfoot oil, 
(b) castor oil, (c) melt and mix 1 qt. 
neatsfoot oil, 4 oz. beef tallow, 3 
tablespoonfuls lampblack, and if a 
good polish be necessary, 4 oz. 
beeswax. Apply the polish spar- 
ingly, and rub it well in with a 
piece of flannel, giving most to 
the buckle holes, girth, breechings 
and bit straps. [See also POoLIsH 
(LEATHER) ] 

Shoe: (1) To make shoe leather 
soft, thoroughly clean it with a 
damp cloth, and then give three 
coats of olive oil before the leather 
gets dry. Shoes, etc., should 
always be oiled after having been 
thoroughly wet. (2) For kid 
leather boots, melt } lb. tallow in 
} Ib. olive oil, and apply sparingly, 
rubbing it in with a piece of flannel. 
If the boots be dirty, clean with 


LEATHER—LEVEL 


warm water, and apply the grease 
while the leather is wet. 

LEATHER: PATENT. Dress- 
ing: Rub lightly over with castor 
oil or cream, and then polish 
with chamois leather. 

Restoring: (1) Mix 1 pt. raw lin- 
seed oil, 4 oz. cider vinegar, 2 oz. 
spirits of wine, 1 oz. butter of 
antimony, 4% oz. spirits harts- 
horn, 4 oz. camphor and 3 oz. 
lavender. Apply with a soft brush, 
and rub in with cotton batting till 
dry. (2) Mix oil japan varnish with 
lampblack and a drier. Rub this 
mixture over the patent leather 
and polish. 

LEATHER : RAW-HIDE. Cut 
the skin in strips, and shave the 
hair off close with a knife. The 
skin in drying shrinks, and so any 
dry cask, or splintered wood-work 
can be bound firmly by nailing the 
raw hide on while green. It may 
be made soft by rubbing it over the 
edge of a board, and it is then 
exceedingly strong. 

LEATHER: TO RENOVATE. 
If the fancy leather-work be worn 
and rough, paint the damaged 
portions with weak gum-arabic ; 
smooth down with a burnisher, and 
then varnish with Scehnée No. 3, 
or some similar elastic varnish. 
To fill up holes and cracks, scrape 
a piece of spare leather with a 
knife; collect the dust, and macer- 
ate it with weak gum-arabic to a 
paste about the consistency of 
butter. Plug up the holes, or 
cement down tares with this paste; 
smooth down with a pen-knife, and 
when dry cement with Scehnée 
No. 3. This leather paste may also 
be made by first softening leather 
with water, and then macerating 
it with weak gum-arabic in a 
mortar. To cement leather see 
CEMENT (LEATHER), and GLUE 
(LEATHER TO MerTAL). If new 
leather be sticky, beat up the 
white of eggs; leave it to stand, 
and then pour off the clear liquid. 


145 


Mix with this liquid a little ox-gall, 
and apply with a soft cloth. 

LEATHER: HOW TO RIVET, 
For harness and similar work two 
rivets for each joint will generally 
be found sufficient. Punch the 
holes out of the leather on a piece 
of lead, file the rivet to the right 
length, and cement the leather 
where the joint is to be. [See 
CEMENT (LEATHER)] Then insert 
the rivet, if in harness with the 
head next to the horse, and rivet 
down lightly, trying to swell out 
the end only, and not to compress 
the leather. 

LEATHER: WATERPROOF, 
(1) Boil 4 1b. Venice turpentine in 
1 qt. linseed oil. Rub it into the 
leather while warm till the leather 
will absorb no more. (2) Warm 
2 oz. paraffin in 1 pt. best lard oil, 
and rub it well into the leather. 
The more paraffin there is used, 
the harder the leather becomes. 
The less paraffin there is used, the 
less waterproof the leather be- 
comes. (3) Melt 4 oz. beef tallow, 
1 oz. resin and 1 oz. beeswax; and 
when nearly cooled solid add 6 oz. 
neatsfoot oil. Warm the leather 
and apply the mixture with a soft 
rag. Two applications at least are 
necessary. (4) For old boots to 
be used in the snow, apply tar to 
the soles as hot as the leather will 
bear without injury, and dry before 
the fire. 

LEVEL: SPIRIT. Plane upa 
piece of walnut I in. sq. x 6 in. 
long as true as possible. Cut a piece 
of 4-in. glass tube 4 in. long. Fita 
cork in one end, and dip the end in 
spirit-proof varnish [see CEMENT 
(SPIRIT-PROOF)] two or three 
times till it is perfectly air-tight. 
Fill the tube with spirits of wine, 
and fit another cork in the other 
end, leaving a bubble about # in. 
long when the tube is laid on its 
side. Make this end air-tight as 
the other end. Let the tube into 
the walnut till it projects about 75 


10 


146 


in. above the side, and fix it in place 
with plaster of Paris. Cuta piece 
of sheet brass lin. broad x 6 in. 
long with a slot down the middle 
$ in. broad x 3 in., and screw it 
over the tube on to the wood. 
Make a notch in the brass on both 
sides of the slot in the middle. 
The level now only requires ad- 
justing. Level up a flat surface 
with some well-proved level. Now 
file and scrape the bottom of the 
level to be adjusted till the bubble 
rests opposite the two notches 
when placed on the prepared 
surface. Care must be taken to 
make the level rest all over the 
bottom, and not on a few points. 

LEYDEN JAR. Select any 
wide-mouthed jar of glass, though 
unless the glass be very good and 
dense flint the charge will soon 
leak away. Cover the lower half 
of the inside and outside with tin- 
foil cemented with gold size, and 


varnish the top half with shellac 
varnish. Cut out a lid of wood; 
bore a hole through it, and insert 
a brass rod. Attached to the rod 
is a brass chain, which must rest 
on the bottom of the jar in contact 
with the inside layer of tin-foil. 
LIGHTNING CONDUCTOR, 
The rod should be made from a 
continuous length of copper not 
less than } sq. in. in section, say a 
§ in. copper rope, and led straight 


' 


LEYDEN JAR—LINE 


down from the roof to the “ earth”. 
It should be attached to the building 
with copper staples, and nowhere 
insulated. The top end should 
project 3 to 6 ft. beyond the highest 
chimney, and the strands of the 
rope opened, so as to form a sharp 
main point in the centre with a 
circle of smaller points radiating 
out all round 3 ft. below. The 
whole rod should be painted black 
with the exception of the points 
which should be plated. The other 
end must be thoroughly “earthed”. 
To “earth,” solder a 3 ft. square 
copper plate on to the end of the 
conductor, and let it rest flat on 
the bottom of a hole dug 6 to 8 ft. 
deep, or the necessary depth to 
ensure the bottom of the hole being 
damp in all weathers. Fill up the 
hole with foundry coke (not gas 
coke), tamp well down, and cover 
with earth. Copper rod or strip 
is often used instead of copper 
rope, but the points at the top are 
harder to make, and it is not so 
readily bent round angles as the 
rope. If possible the rod should 
be all in one piece, but if in pieces 
the joints should be brazed. 

LIME: TEST FOR QUICK-, 
In most cases the heaviest quick- 
lime is the best. Good lime 
feels greasy, but poor lime feels 
gritty and dry tothe touch. When 
good quicklime is slaked, it falls 
quickly, causes the water to boil 
furiously, and gives out a quantity 
of heat; when poor quicklime is 
slaked, the water hardly boils, and 
gets only slightly warmed. Good 
quicklime requires one half its 
bulk of water to slake it, and when 
slaked, swells to twice its original 
bulk; and, if exposed to water, 
which is continually changed, 
leaves no residue. Poor quicklime 
swells to 24 times its original bulk, 
when slaked, and always leaves a 
gritty residue. 

LINE : CHALK, To mark offa 
straight line for sawing off boards, 


LINE—MAGIC LANTERN 


etc., rub a piece of chalk along a 
length of whip-cord. Fasten the 
whip-cord at both ends, lift it an 
inch or so in the middle, and let 
it flip down. On removing the 
cord a dead true chalk line will be 
found to have been marked. 

LINE: GARDEN, Make a 
x 12 in. from two 
narrow strips of 
board and two 
round sticks, as 
shown in_ the 
illustration. In 
the centres of the 
two pieces of 
board bore #-in. 
holes. Through 
these holes put 
a stick 20 in. long, 
and place pins 
through it above 
and below to keep it in place. The 
frame should turn easily on the 
centre stick. 

LINEN : HOW TO WASH. (1) 
To remove stains, mildew, etc., dip 
the linen in a medium solution of 
nitric acid, ‘cover with salt, and 
leave inthesun. This may require 
many repetitions. (2) Alcohol will 
remove slight discolorations. (3) 
Borax is preferable to soda for 
washing linens and cottons. 


frame 10 in. 


MAGIC LANTERN SCREEN. 
(1) Paint a sheet of duck or calico 
with a distemper made (a) whiting 
and skimmed milk, or (0) thin 
isinglass, glue and whiting, and lay 
it on with a broad soft brush whilst 
hot. (2) Mount good white paper 
on strained calico, and roll it up 
like a map. 

MAGIC LANTERN SLIDES, 
Gelatine: Pour a thin solution of 
gelatine containing 2 to 3 per cent. 
of glycerine on to a level sheet of 
plate glass, and leave it to dry, 
away from dust. To ensure the 
gelatine leaving the glass when 
set (a) rub the glass over with ox- 
gall before pouring on the gelatine, 


< 


147 


or (b) dust over the glass with 
French chalk, and rub till no 
powder adheres; then coat with 
plain collodion, and allow it to 
dry before pouring on the gelatine. 
Lay a thin sheet of gelatine over 
the illustration to be copied, and 
trace it off, using a sharp steel 
point or a needle to scratch into 
it. Then rub lampblack well into 
the scratches with the finger, 
and mount between two sheets of 
glass. 

Ground Glass: Cover a piece of 
thin ‘‘smooth plate” ground glass 
with glycerine and water; lay it 
over the design, ‘and trace it 
through on to the glass with a 
hard pencil. Then rinse the glass 
in water, and stand it on its edge 
to drain and dry. When dry, drop 
a little Canada balsam on to the 
middle of it, press another thin 
sheet of glass on the top, and 
then heat, which will spread out 
the Canada balsam, making all 
transparent, except the pencil 
marks. 
_ Paper: Cut two pieces of card- 
board up into the required size for 
carriers for each slide, and cut a 
square, round or oval hole out of 
the centre. Procure some of the 
thinnest and best paper that can 
be written on with Indian ink with- 
out running, and which is free from 
water-marks and blemishes. Make 
the required drawing or tracing on 
the paper of the size of the aper- 
ture in the cardboard, shading 
and marking with Indian ink, and 
hard and soft pencils. Gum the 
edges of the aperture on one piece 
of cardboard, lay the picture over 
it, and stretch it out taut, so 
that there are no crinkles., Cover 
the other piece of cardboard with 
thin glue; lay it on top, and press 
down tilldry. Then give a coating 
over both sides of the thin paper 
with Canada balsam dissolved in 
benzol, which will make the paper 
transparent, 


148 


Photographic: Print the slide 
from a negative, holding the two 
prepared surfaces together in front 
of a lamp for from 20 to 30 secs., 
and then develop in the ordinary 
way. To colour, first apply the 
ordinary negative. varnish, and 
leave to dry. Then paint, being 
careful to colour in the trees and 
foreground dark enough; and 
finally varnish again over all. 

Oil Painted: (1) Melt white resin, 
and when almost solidifying add 
enough turpentine to keep it liquid 
when cold; then grind up suitable 
transparent artists’ oil colours with 
it. If necessary, thin with pale 
amber varnish. Apply the paint 
on the glass with one stroke only 
of the brush, and leave it to dry 
before applying varnish or more 
colour on the top of it. (2) Makea 
varnish of 10 parts bleached shellac, 
5 parts Venice turpentine and 15 

arts turpentine. Add and grind 
in the necessary pigments, such as 
5 parts indigo for blue. 

Water Colour: (1) Boxes of suit- 
able water-colour paints are sold 
for the purpose. Mix the paints 
with turps, and add copal varnish 
to give them body. The cofours 
necessary are crimson lake, 
Prussian blue, burnt lampblack, 
burnt umber, burnt sienna, raw 
sienna, Indian pink and gamboge. 
To paint the sky or any large 
surface with a thin coat, first 
varnish the glass with a mixture 
of Canada balsam and turpentine, 
and leave to dry. Then mix the 
paint with water, rub it on a 
pallet, and leave it to dry. Make 
a small pad from a kid glove with 
the smooth side outside, breathe 
on the paint, dab it with the pad 
and immediately dab the glass 
with it. Repeat this till the place 
to be coloured is nearly covered 
all over with dabs, and then dab 
all over without adding any more 
paint to spread it out quite evenly. 
The more it is dabbed the lighter 


MALLET 


it will become, and it can thus be 
shaded with one or more colours. 
For skies, clouds can be afterwards 
made by damping a small piece of 
fine linen and wiping them out. 
Then varnish with the Canada 
balsam again, and if the tint be 
not deep enough, repeat the dab- 
bing process. All dark and bright 
colours must be varnished with 
Canada balsam to make them 
transparent. Mix best vegetable 
black and thin French polish in an 
air-tight tin, and apply it between 


‘the views for a background. To 


trace a picture, first paint the out- 
line with thick Indian ink; varnish, 
and then fill in the colouring, 
finally varnishing again. (2) Coat 
the glass with negative photo- 
graphers’ varnish, and when set, 
trace the design with a style and 
carbon paper. Then paint in the 
ordinary way. (3) Coat the glass 
with collodion, leave for } hr., and 
then coat with 1 part photo- 
graphers’ varnish mixed with 1 
part methylated spirits. The slide 
when dry will appear as ground 
glass, and may be drawn on with 
a pencil, Then cover with a 
mixture of 1 part Canada, balsam 
and 1 part turpentine making all 
clear again. Mix a little ox-gall 
with the colours, and apply. 

MALLET, For the head use a 
knot of white oak or ash cut from 
ornearthe roots. The knot should 
be cut at least a year, and be well 
seasoned, before being made up. 
Bore a 1} in. hole through the 
middle, and work off two ends at 
right angles to the hole; then fit 
in an ash shaft. Work off the two 
sides square and parallel to the 
shaft. The two working faces may 
be made slightly tapering towards 
the end of the shaft. If possible 
never let the head get wet, but at 
any rate never use it except when 
quite dry. 

MALLET: MANURE, Cutthe 
head from a branch of hard wood 


MANURE—MARKER 


4 in. diameter, and make the shaft 
about 2 ft. long. With 
the sharp end the manure 
can be broken up, and 
with the flat end scattered 
about. 

MANURE: BONE. 

Place bones in a heap 

with ashes or sand, and 

occasionally moisten them 

with liquid manure or 

water. In a short time 

the bones will be the best bone- 
dust manure. 

MANURE : GARDEN. Forest 
loam and rotting leaves make the 
best manure for flower-beds. 

MANURE: POTTING. For 
ferns, etc., use the mud that is 
scraped off the tyre and mud- 
guard of a bicycle after a muddy 
ide. 

MANURE: STRAW. (1) Use 
the straw as stable feed and litter 
in the winter. (2) Scatter the 
straw behind the plough and cover 
it up. (3) Spread the straw over 
the surface of the ground and burn 
it. 

MANUSCRIPTS: TO WASH. 
Wash the manuscripts in a solution 
of ferro-cyanide of potassium in 
distilled water. 

MARBLE: ARTIFICIAL. Mix 
plaster of Paris in a solution of 
alum; bake it in an oven, and 
grind to a powder... Mix the 
powder with water, and mould to 
shape. This composition will bear 
a high polish. ~ 

MARBLE: HOW TO CLEAN. 
(1) Slight stains may often be re- 
moved with lemon juice. (2) To 
remove oil stains, make a paste of 
benzine and dry clay powder, rub 
one way only, and wash off with 
soap and water. (3) Powder and 
mix together 2 parts soda, 1 part 
pumice stone and 1 part chalk; 
pass through a very fine sieve, and 
mix with water to a paste. Rub 
over the marble with this paste 
thoroughly, and then wash off with 


149 


soap and water, (4) Mix 1 oz. ox- 
gall, 1 gill lye and 14 tablespoon. 
fuls turpentine, and then add pipe- 
clay or fuller’s earth to form a paste. 
Apply the paste freely over the 
stain, and brush off in a few days. 
(5) Mix a solution of potash or 
strong soap lye with quicklime to 
the consistency of cream; cover 
the marble with this, and leave for 
24 hrs. Then brush off, and polish 
with putty powder and oil on felt. 
(6) Apply a thick coat of thick gum- 
arabic or starch, and expose to the 
sun, or wind, or in front of a fire 
to dry. The gum will then peel off 
carrying any surface dirt with it. 
This method may also be used for 
plaster of Paris casts. [See also 
STAINS (TO REMOVE INk)] 
MARBLE: TO DRILL, Knock 
out a flat drill as for iron, only 
rather thinner, making the point 
at right angles and the cutting 
edge about 75°; and temper to 
dark straw. [See TEMPERING] Do 
not use much pressure, and drill 
if possible dry; if the drill gets too 
hot, cool it with water or turpentine. 
It is best to first drill a small hole, 
and then a larger and larger one 
till of the required size. 
MARBLE: TO REPAIR. If 
a small piece of marble has to 
be replaced, it may be moulded 
from mosaic cement [see CEMENT 
(Mosaic)], and then polished. If 
a piece of marble has discoloured 
spots, chip out the discoloration 
in the form of a taper hole, and 
grind in a plug of marble with 
emery or glass powder. Then 
clean, and fix with mosaic cement. 
MARKER: GARDEN. Fit a 
hoe handle into the middle of a 
cross piece 2 in. x 2 in. x 2 ft., 
after the fashion of a rake. Bore 
holes in the cross piece close 
together, and fit in teeth with 
bluntened ends 6 in. long. Set 
the teeth so that when the rake 
is pulled the teeth slant forwards 
and lift upthe earth. The distance 


150 


between the seed furrows may be 
altered by arranging the teeth in 
different holes at different distances 
apart. 

MAT: TO WASH. Sheepskin: 
Wash the mat in warm water with 
boiled soap, and when clean, rinse 
thoroughly in cold water. If the 
mat be white, a little blue should 
be added to the water; if it be 
dyed, add a little ox-gall. Place 
the mat out in the sun to dry, wool 
side uppermost, and frequently 
shake it while drying, or the 
leather may be cracked. [See also 
Fur (TO CLEAN)] 

Toilet : Wash the mats carefully, 
but do not starch them, or they 
will stick to damp or warm articles 
put upon them. If the mats have 
coloured worsted worked on them, 
use soda in the first water, and 
rinse immediately in clean water. 

MATCHES: WATERPROOF. 
Dip the heads of wax-vesta matches 
in a solution of 2 parts glycerine in 
100 parts collodion. 

MATTING: HOW TO WASH. 
(1) Sprinkle dry, unsifted Indian 
meal over the matting. Dip a mop 
in hot water, and squeeze it till it 
foes not drip; then rub the matting 
hard, one length at a time, length- 
ways with the straw, and use clean 
water frequently. When the mat- 
ting is dry, brush the meal off. (2) 
To brighten the colours, take up the 
matting and wash it in a solution of 
1 pt. salt to a pail of water. 

MEASURE : BOX, Makea box 
16 in. wide x 16? in. long x 8 in. 
deep, inside measurements. This 
box full will contain 1 bushel, and 
each inch in depth 1 gallon. 

MEASURE: REEL. Cut a 
circle 9 in. diameter from 1} in. 
deal, and saw eight radiating 
spaces 14 in. wide x 3 in. deep 
into one side to fit spokes into, 
chipping the wood out with a 
chisel. Fit in oak spokes, 33 in. 
long from the centre of the hub 
to their ends, 14 in. wide x 2 in. 


MAT—MEASURB 


thick, so that all is flush when 
they are let into the circle. Make 
them a tight fit, and then screw 
them in place. Cut another circle 
9 in. diameter from 4-in. deal, and 
screw it on the top of the spokes, 
so that all joints are covered. 
Now make a mark on each spoke 
324 in. from the centre of the hub. 
Cut the spokes off at this point, or 
rather leaving them just a shade 
too long, and taper them as shown 
in the illustration. Drive a nail 
into the end of each spoke to save 
them wearing too quickly, and then 
file the end of the spoke sharp, 
leaving the nail slightly exposed. 
The distance from nail point to 
nail point should be 242 in. One 
revolution of the wheel should 


now give exactly 164 ft., or 1 pole 
in length. Measure off 16} ft. on 
the level, and then run the wheel 
over, and see if it exactly corre- 
sponds; if it measures slightly too 
long, file a trifle off each point, 
and then test again; if necessary, 
repeat the filing. Drill a 8-in. hole 
through the centre, and fit in a 8- 
in. bolt for an axle. Two pieces of 
board are placed on each side to 
receive the axle, and washers of 
leather are placed between the 
wheel and the boards. A suitable 
block is screwed between the 
boards to keep them the required 
distance apart, and a cross bar 
run through it for handles. It is 
best to paint one spoke a different 


MEDLEY—MICROSCOPE SLIDES 


colour to the rest, so that each 
revolution of the wheel may be 
easily counted. 

MEDLEY : WINDOW. Trace 
a design of a bouquet, or a cross 
and flowers, on a piece of white or 
tinted Bristol-board. Among the 
most effective flowers and their buds 
are roses, lilies of the valley, sweet 
peas, fruit blossoms, and ferns and 
ivy. Lay the Bristol-board flat ona 
piece of hard wood, and with a sharp 
thin- bladed knife cut smoothly 
round the outline as stencils are 
cut, without detaching any flower 
or leaf. About } of the outline left 
uncut will be found sufficient to 
keep the flower in place. A little 
pricking with a coarse needle as 
Shading will be found effective. 
Press the points of the leaves and 
flowers outwards, so that the light 
will pass through; place it in a 
wooden frame, and hang it up in 
front of and close to the window. 
Lamp shades may be made in a 
similar way. 

MERINO: TO WASH. Grate 
two or three large potatoes in 1 pt. 
water; let it stand for 4 hr., and 
then pour off the clear liquid. Lay 
the merino on a flat surface, and 
apply the liquid with a clean sponge, 
till clean; then dip it in cold, soft 
water, and hang it up todry with- 
out wringing. Iron while damp on 
the wrong side. 

MICE: HOW TO POISON 
ORCHARD. bBore 2-in. holes 4 
in. deep in blocks of wood. Soak 
5 parts corn in water and add 1 
part arsenic; leave to soak for 12 
hrs. Fill up the bottom inch of 
the holes, and leave the blocks 
about the orchard. 

MICROSCOPE SLIDES. The 
glass is usually 3 in. x lin. x yy 
in., and it should be free from 
specks and blemishes. The cover- 
ing-glasses are made in various 
thicknesses, usually round or 
square. When very high powers 
are to be used, the thin sizes are 


151 


necessary. The glasses should first 
be thoroughly cleaned by washing 
them with soap and water, rinsing 
and drying. Then polish with a 
button covered with wash leather 
or an old silk handkerchief. 

Cell: A description of cells suit- 
able for “‘dry mounting” only is 
given under that heading, the 
following being the method usually 
adopted, and may be used either 
for the ‘‘ wet” or “dry” method. 
If a number of cells are to be made, 
or it be desired to make them very 
neatly, a turntable should be pur- 
chased. The glass must first be 
thoroughly cleaned, as already ex- 
plained, and then the centre of the 
slide found. Ifa turntable be used 
this is practically automatic; but if 
no turntable be available, lay the 
glass on a piece of paper and go 
round the edge with an upright 
pencil. Remove the glass and 
rule two lines diagonally across 
from corner to corner, and where 
they cut is the centre. Now with 
this point as centre draw a lot of 
concentric circles or squares of 
about the size of the covering- 
glasses. Lay the glass on the 
paper again with the worst side up, 
and make a small ink-dot over the 
centre. When this spot is dry, 
turn the glass over so that the ink- 
spot is exactly over the centre; 
now draw the circumference of a 
circle in gold size (called cement), 
using a circle on the paper for a 
guide, the circle to be of such a 
size that the covering-glass it is 
proposed to use will rest on it, but 
not project over the side. The 
cement should not be so thin that 
it runs over the glass, nor so thick 
that it ‘strings’. When the 
cement has become almost dry, 
known as “tacky,” apply another 
circle exactly over the first, and so 
on till the cement is of the required 
height. Cells up to 7, in. deep may 
be built up by this method. If the 
cement be too thin, leave the cork 


152 


out of the bottle, but keep away 
from dust; if too thick, thin with 
turpentine. Ifa turntable be used, 
it should he rotated fairly fast, and 
the brush should be so full of cement 
that it just will not drip. To make 
‘deeper cells, paint one layer of 
cement as before. Then cut a 
ring from a glass, vulcanite, fibre 
or brass tube of the required thick- 
ness. Vulcanite and fibre will be 
found easy to work, and to sand- 
paper up smooth and true. Coat 
the ring with cement, and when 
both the cement on the glass and 
on the ring are tacky, lay it in place. 
After some little time apply a coat 
of cement over all to make it air- 
tight. When the cement is quite 
hard, insert the object with the 
necessary liquid, if any, apply a 
thin coating of cement round the 
edge of the covering-glass, and 
press it in place. Place a spring 
clip on, and put away to dry. The 
cement should be hard enough, or 
the spring clip will press the cell 
out of shape. 

Sections: Use a_ hollow-ground 
razor fitted rigidly into a handle, 
and keep one razor for hard and 
one for softer substances. Lubri- 
cate the razor with the liquid in 
which the object is to be steeped. 
When a sufficiently good section 
has been cut, float it off the razor 
in its steeping liquid by making a 
little stream run down the blade, 
or by pressing it off with a camel- 
hair brush. Keep the razors, when 
not in use, in (a) methylated spirits, 
or in (b) a solution of 4 drops of 
potassae to 4 pt. water. 

Staining Objects: Break up 20 
grs. extract of logwood and add 3 
teaspoonfuls of water; when as a 
thick jelly, add 1 oz. boiling water. 
Dissolve 40 grs. alum in 1} oz. water, 
and mix with the logwood solution. 
Filter, and then_add 1 dr. methy- 
lated spirits and 3 oz. water. To 
use, mix 1 part stain with 8 parts 
water, and keep the object im- 


MICROSCOPE SLIDES 


mersed in it till of the required 
tint. 

Dry Mounting: (1) The usual 
method of making the cells is ex- 
plained under Cells. (2) Cut pieces 
of mahogany 3 in. x 1 in. x @ in., 
and sink a hole half-way through 
for the cell. Cut a piece of wax 
from a sheet sold for making wax 
flowers about 1 in. sq.; lay it over 
the hole, and press it down so that 
it covers the bottom and sides, and 
leaves a ridge projecting round the 
top. Place the object to be mounted 
in the cell, and attach it to the wax 
at the bottom with slight pressure ; 
place a covering-glass on the top 
and press it down. The warmth 
of the finger will be enough to 
soften the wax, and make it spread 
out under the covering-glass. Then 
remove all superfluous wax round 
the edge, and gum over the covering 
paper. Ifthe hole be bored too deep 
a coloured wafer may be placed on 
the bottom before the wax is pressed | 
in. The wafer will show through 
the wax, and take away from the 
glare. (3) Drill a hole through the 
centre of a glass slide of the re- 
quired size with a copper tube, 
emery and water. [See GLass (How 
TO DRILL)] Mount it on another 
slide with Canada balsam or gold 
size, having cleaned and heated it 
to drive off all moisture. Place the 
object in the cell thus formed, and 
cement down another slide or a 
covering-glass on the top. An 
object mounted in this way can be 
viewed from either side, but not 
with very strong powers, unless 
very thin glass be used for covering 
in each side of the centre piece. 

Vegetable Substances: Cut a piece 
from a leaf free from veins, place it 
in a solution of 1 part nitric acid to 
2 parts water, and bring it slowly 
toa boil. After boiling fora minute, 
agitate the acid, and then throw 
it out into cold water. The section 
can now be divided into its separate 
tissues with a camel-hair paint 


—_ "=. 


MICROSCOPE SLIDES 


brush. When separated, rinse, 
stain and mount in glycerine jelly, 
or Canada balsam, if suitable. 

Wet. Mounting: Canada balsam 
is the medium most commonly 
employed in wet. mounting. It is 
thickened by exposure to the air, 
but if the bottle be left open for 
this purpose, it should be covered 
with paper to prevent dust falling 
in. Heat makes the balsam thinner 
temporarily, but it becomes thicker 
when cold. It may be thinned 
by adding benzol or chloroform; 
chloroform is perhaps the best 
liquefier, but as it evaporates very 
quickly, the object must be 
arranged more quickly than if 
benzol had been used; chloroform 
also does not keep well. The 
balsam must be kept free from water 
or it will turn white and opaque. 
Before mounting the objeet it 
should be freed from all moisture 
andfat. This may be accomplished 
in one of the following ways: (a) 
Dry in the air, and then soak in 
Canada balsam for a few hours. 
This is only suitable for very strong 
objects. (b) Kill and steep the 
object in turpentine or oil of cloves 
till clear, which will take about 
two hours in turpentine or a few 
minutes in oil of cloves, and then 
steep in Canada balsam for a 
few hours. Dipterous insects of 
moderate size should be boiled in 
the turpentine for a few seconds, 
and then allowed to steep till 
transparent. (c) Killand immerse 
in very good and strong methylated 
spirits for one or two days, and 
then immerse in the turpentine, and 
then in Canada balsam as before. 
This method is usually employed 
for very damp or watery objects. 
(d) Kill and immerse in very good 
and strong methylated spirits for 
a few days, then steep in sulphuric 
ether to remove fat or oil, then in 
turpentine or oil of cloves, and 
then in Canada balsam as before. 
(e) Kill and pickle in liquor potassae, 


153 


then place away to dry, and then 
steep in Canada balsam. If the 
object be opaque, it may often be 
rendered transparent and nearly 
colourless by introducing caustic 
soda or acetic acid into the pre- 
paratory steeping liquid. All 
traces of the soda or acid. must 
however be removed before mount- 
ing. Let adrop of balsam fall on 
to the centre of a clean, dry slide, 
hold it over a bunsen flame or 
spirit lamp till the balsam is spread 
out. Whilst warm and_ liquid 
prick all bubbles and remove all 
dust with a red hot needle. Now 
lift the object to be mounted 
out of the balsam bath with a 
camel-hair paint brush or a flat 
knife, and place it in the centre 
of the balsam, care being taken 
that no air is caught underneath. 
Replace the slide over the flame, 
and work the object down with a 
needle till it rests on the glass; 
then arrange it suitably with the 
needle, looking at it under the 
microscope, and removing all 
bubbles or foreign matter. Then 
heat the balsam again over a flame 
to thicken it, and add more if 
necessary. Finally, place a drop 
on the covering-glass, making the 
centre the highest part, heat it 
and lay it on the top of the object. 
Press and work down, pressing 
out all bubbles; put ona steel clip, 
and put away for three months to 
dry. If the object be very thick, 
it should be mounted with Canada 
balsam in a cell. If the object be 
very delicate, benzol or chloroform 
should be mixed with the Canada 
balsam to thin it, but time should 
be given to allow the volatile spirit 
to evaporate before putting on the 
covering-glass. After a month or 
so the edges round the covering- 
glass will very likely be found to 
be gaping; the cracks should then 
be filled up with balsam. Repeat 
again later on, if necessary. After 
three months the slides may be 


154 


varnished, though it is not at all 
necessary. To mount whole insect, 
soak a few of them for from two 
weeks to a month in liquor potassae. 
Then place them between two 
sheets of glass, and express all 
internal matter gently. Then wash 
them well with|a camel-hair brush 
and distilled water. Choose the 
least damaged, float it off on a 
piece of glass, and put it away to 
dry. Then immerse in turpentine, 
then in Canada balsam, and mount 
with the balsam in the ordinary 
way. When the object is to be 
mounted in glycerine, steep the 
object beforehand in as_ strong 
glycerine as can be obtained. Very 
delicate objects should first be 
steeped in weak glycerine, then 
stronger and stronger till the full 
strength is obtained; if placed 
direct into the strongest glycerine, 
they are liable to curl up and 
crinkle. It is due to this property 
of glycerine that objects which are 
curled up, and which would be use- 
_less for mounting in Canada balsam, 
often straighten out in glycerine. 

Varnishing: Varnish is applied 
round the cell, or if mounted with 
Canada balsam, round the covering- 
glass. Varnish is only applied to 
slides for appearance; it is never 
beneficial, and often disadvan- 
tageous. Place the mount away 
for at least three months, and then 
paint a ring of Canada balsam 
diluted with chloroform or benzol 
round the covering-glass and cell. 
Leave for another three months 
and then varnish. 

MIRRORS: MAGIC. Lay a 
piece of paper over the back of a 
looking-glass, and draw with an 
ivory or agate point just so hard 
that it will not break through the 
silvering. In a strong light the 
tracing of the point will be reflected, 
though it is not noticeable on the 
glass or silvering. 

MIRRORS: TO PROTECT. 
Mirrors should never be hung in 


MIRRORS—MITRE BLOCK 


the direct rays of the sun, nor 
where artificial light is used a few 
inches away, or the silvering at 
the back will become granulated. 
MIRRORS: TO REPAIR. (1) 
Clean the bare places on the back 
with boiled or distilled water; dry~ 
and polish with blotting-paper. 
Cut up tin-foil, and mix it to an 
amalgam with mercury, and spread 
some on a Sheet of tin-foil. Cover 
the bare patch with thin paper a 
little larger, and place a prepared 
sheet of tin-foil amalgam, side 
down, on the paper with a piece of 
wood lightly weighted on the top. 
Jerk out the paper, thus bringing 
a clean surface of amalgam in 
contact with the glass. Weight 
the tin-foil down, and leave for a 
fortnight. Mirrors may also be 
silvered allover by this method. (2) 
Mark out with a knife on a broken 
piece of mirror a section a little 
larger than the portion to be re- 
paired. Puta drop of mercury on it, 
and in a short time the silvery 
section can be lifted off with a thin 
bladed knife. Place the section over 
the portion to be repaired, and press 
it down all over with a very soft 
material. Care must be taken that 
the glass is perfectly clean before 
putting on the silvery section. [See 
also GLass (How TO SILVER)] 
MITRE BLOCK. Cut and 
plane up square and true from well- 
seasoned beech one piece 6 in. x 
18 in. x 1 in. and another 4 in. x 


18 in. x 2 in. 
gether as shown in the illustration. 
Then mark off distances on the top 
back edge of 3 in. and 15 in.,measur- 


Screw them to- 


es | Se | 


MITRE BOX—MOUNT MAPS 


ing from one end; on the corres- 
ponding front edge 7 in. and 11 in. 
Then join across making two lines 
4 in. apart on the front edge and 
12 in. apart at the back; draw 
lines down with a square, and saw 
kerfs as shown with a tenon saw. 
A mitre shooting block may be 
with advantage combined with this 
block. Cut and plane up square 
two pieces of beech 14 in. x 14 in. 
x 6in. Screw these down on the 
top with one edge of each exactly 
on the top of the saw kerfs, and 
then cut the ends off flush with the 
front and back. The block is used 
as an ordinary shoot block. [See 
SHOOT BoarpD] 

MITRE BOX. For the bottom 
use 1 in. oak or beech 6 in. wide x 
18 in. long. For the sides use 1 in. 
oak or beech 4 in. wide x 18 in. 
long, and screw them on to the 
bottom board, so that there is 6 in. 
air space between them, 1.2., screw 
them on so that the bottom side 
of each side is flush with the bottom 
of the box. On the inside edge on 
the two sides mark off points 6 in. 


oe SS oS 
act 


from each end, four points in all; 
these points should be 6 in. apart. 
With a _ straight-edge draw two 
lines joining up two pairs of points 
diagonally, as shown by the dotted 
lines in the illustration. On the 
outside of the sides draw down four 
lines with a square. Place the 


saw as indicated by the dotted 


lines, and saw down the lines 
drawn on the outside of the sides 
till the bottom board is reached. 

MOLES: TO POISON. Soak 
5 parts corn in water, in which 1 
part arsenic is dissolved, for 12 hrs. 
Make small holes in the burrows, 
drop in the corn, and cover over 
carefully again. 


155 


MOSS CONE. Fix an upright 
stick about 16 in. long to the centre 
of an old cheese box. Stretch over 
it a piece of coffee sacking, as in 
forming a tent, and tack it down to 
the bottom on the inside, leaving a 
space of 3in. all round. Mix equal 
parts clay and ashes to the con- 
sistency of mortar, and plaster over 
the cone down to the top edge of 
the box. Cover the soil with moss, 
and plant small ferns round the 
base. Keep all well watered. 

MOSS: TO PRESERVE. 
Gather the moss in the summer, 
place it top downwards in a dark 
cellar, and leave it there till dry. 
This prevents the colour of the 
moss changing. 

MOSS TUMBLER. Cover a 
common tumbler with cotton cloth, 
and fasten moss to it till it is 
covered. Glue dried moss to the 
outside of a saucer; set the tumbler 
in the saucer, and fill up the saucer 
and tumbler with earth, and plant 
violets and small ferns in it. 

MOTHS: CLOTHES. Ifthe 
moth worms have begun to eat the 
fabric, lay it out flat, wet a coarse 
towel, lay the towel on the top of 
the fabric, and go over with an 
iron. The steam will kill all the 
worms and eggs. Camphor is only 
useful to keep the moths away, and 
if the eggs be once laid camphor is 
useless. 

MOTHS: TO PRESERVE 
LARGE. _ Dissolve corrosive 
sublimate in spirits of wine, 
making the solution so strong, that 
when a black feather is dipped in 
it and dried, a white |powder can 
be seen remaining on the feather. 
Dilute this solution with spirits of 
wine till the powder just dis- 
appears. Dip the moth’s body in, 
and remove the surplus liquid with 
blotting-paper. Shake it gently in 
front of a fire or in the sun till it is 
dry. 

MOUNT MAPS: TO. (1) Cut 
the backing muslin or canvas, which 


156 


should not be too heavy, 2 in. 
larger each way than the map; 
wet it, stretch it well out, and tack 
the edge lightly down on toa flat 
surface. While it is still damp 
brush paste well in all over, but 
not too thickly. Damp the back 
of the map with a sponge, and 
when it looks dull, roll it up on a 
clean wooden roller face inside. 
Press the edge firmly down on one 
end of the pasted muslin, and 
unroll the remainder’ evenly, 
smoothing it down as it is unrolled 
with a soft dry cloth. Press 
firmly round all the edges, and if 
there be any air bubbles, prick 
them with a needle through the 
backing, and press the spot down. 
Let all dry slowly; remove the 
tacks, and cut the muslin off level 
with the map. Then size, and 
when dry, varnish; finally bind 
with red or green ribbon round the 
edges. (2) To mount a map in sec- 
tions, mark out and cut the map up 
from the wrong side into convenient 
sizes, say 3 in. x 4 in. It will be 
found best to have an even number 
of sections. Stretch twilled lining 
on a frame till all the creases are 
taken out. Cut a ruler ~, in. 
square. Dampen and paste the 
back of a section, and press it 
down on the backing; then dampen 
and paste down another section, 
laying it in the same line as the 
first, but ~; in. away to the right, 
using the ruler as a distance piece. 
Repeat till the first row is laid; 
then commence on the next row, 
pasting each section exactly below 
the corresponding section on the 
first row and 7, in. away. Com- 
plete all as soon as possible; fold 
up the easiest way, and dry under 
pressure, such as under a copying 
or linen press. Then paste a piece 
of paper on the outside, so that 
the map is always folded up the 
same way. 

MOUSE HOLES: TO PLUG. 
(1) Plug up the holes with hard 


MOUSE HOLES—MUSHROOM CULTURE 


white soap. (2) Mix finely broken 
glass with portland cement, and 
cement up the holes. 

MUCILAGE: COMMERCIAL, 
Dissolve 4 parts clear glue in 4 
parts water. Add 1 part alcohol 
and a little alum dissolved in 
water. 

MUCILAGE: GUM. Arabic: 
(1) Put 2 oz. gum-arabic in a 4 pt. 
bottle nearly full of water, and add 
1 dessertspoonful alcohol. Shake 
the bottle occasionally for a few 
days. (2) Dissolve 14 oz. gum- 
arabic in 3 oz. water, and add 15 
drops of a saturated solution of 
carboline. (3) Mix 1 oz. flour with 
1 oz. strong mucilage. This forms 
avery strong gum when it begins 
to ferment. 

Tragacanth: (1) Dissolve gum- 
tragacanth in water till of the 
consistency of starch. (2) Dis- 
solve 2 parts gum-tragacanth, and 1 
part gum-arabic in water. A few 
drops of carbolic acid or oil of 
cloves prevents moulding. 

MUCILAGE MOULDING. Add 
carbolic acid, alcohol, vinegar, 
alum or sulphate of quinine to 
prevent gum moulding. 

MUCILAGE : POCKET. Boil 
and then strain 1 Ib. best white 
glue. Boil 4 oz. isinglass and mix 
it with the glue. Place this 
mixture in a water bath with 8 oz. 
white sugar, and let it evaporate 
till the liquid is very thick; then 
pour it into moulds, and leave it 
todry. This mucilage immediately 
dissolves in water. 

MUCILAGE: STAMP. Mix 2 
parts dextrine in 1 part vinegar, 1 
part alcohol and 5 parts water, 
This is used on the back of stamps, 
labels, envelopes, etc. [See also 
GLUE (STAMP)] 

MUSHROOM CULTURE. 
Buy a brick of mushroom spawn 
to start on. Collect 1 part horse 
manure, 1 part cow manure (the 
manure must not contain any 
straw or foreign matter), 1 part 


is 


higher 


leaf mould, and if possible 1 part 
sheep manure. Break it up fine, 
and pass it through a coarse sieve, 
and add sufficient water to make 
the whole mass like thick mortar. 
Spread it out ina layer 5 or 6 in. 
deep, and press it down firmly. 
As soon as it dries enough to hold 
together when handled, cut it up 
into bricks, and in the centre of 
each insert a small piece of the 
spawn from the bought brick, 
stopping the hole with the manure 
and mould mixture. Put the bricks 
on edge with free air circulation. 
The bricks must be kept perfectly 
dry, and occasionally turned over 
till wanted for use. Each brick 
will shortly be as fruitful as the 
original brick. To make the bed, 
take freshly-dropped horse manure 
free from straw, and mix it with 
about } its bulk of good loam from 
just beneath grass sods. Keep the 
mixture under a shed, and turn it 
over occasionally for two weeks. 
Make the bed if possible on dry 
ground, which should be slightly 
than the surrounding 
ground, or make an artificial 
hillock of dry faggots. When the 
manured earth is half dried, spread 
it 6 in. deep, where the bed is to 
be, within a frame, and beat it 
down solid. Make another layer 
6 in. deep and beat it down again, 
and so on till the manure is 3 to 4 
ft. deep in winter, and 1 to 2 ft. 
deep in summer. In a few days 
the temperature of the bed will 
rise to 100° Fahr., and will then 
begin to cool; when at 80° or 90° 
Fahr. it is ready to receive the 
spawn. Break the spawn up into 
pieces the size of a hen’s egg, and 
place the pieces 3 or 4 in. below 
the surface and 12 in. apart. 
Leave the bed for at least two 
weeks, and then scatter 2 in. fine 
loam evenly over the bed, and pack 
down firmly, but not hard, with 
the back of aspade. Place straw 
loosely over the surface, and if 


MUSLIN—NAILING 157 


the bed becomes dry, give a slight 
watering with water heated to 100° 
Fahr. A temperature of at least 
60° Fahr. must always be kept up 
in the bed. In the winter make 
the beds in boxes or barrels, and 
keep them in a cellar. In the 
middle of summer it will be suffi- 
cient to place the spawn in fence 
corners, etc. 

MUSLIN : HOW TO WASH. 
Melt 4 lb. white soap in 1 gal. water, 
and empty it into a washing-tub of 
water. Have two large tubs of 
clean water, and into one stir 1 qt. 
bran. Put the muslin into the suds, 
knead for a few minutes, take out, 
squeeze (do not wring), and rinse 
in the bran water for 2 mins.; then 
rinse in the clean water, and hang 
out to dry in the open air. [See 
also Lace (TO Was3H)} 


NAIL: TO DRAW RUSTY. 
If the nail be rusty, hit the head 
first to start it; if this be not 
successful, hold a hot iron on the 
head till the nail gets thoroughly 
heated, and then draw. 

NAIL: TO DRIVE. In nailing 
up hard wood, rub a little tallow 
over the point of the nail before 
using the hammer. If the nail be 
big, bore a hole ‘with a brad-awl 
first. 

NAIL RUSTING: TO PRE- 
VENT. (1) Mix 1 pt. linseed oil 
with 2 oz. blacklead. Heat the 
nails red hot, and drop them into 
the mixture; then take them out, 
and let them thoroughly drain. 
When nearly dry, put them in a 
nail bag, and shake them up for 5 
or 10 mins. (2) Coarse grease may 
be substituted for the oil and black- 
lead. 

NAILING: SECRET. Take a 
fine chip down the wood, but leave 
it attached at one end. Then 
drive in the nail under the chip, 
punch it in, and glue the chip down 
again. When dry, rub over lightly 
with sand-paper. 


158 
NEST: GOOSE. Form a 
straw nest on 3 in. of horse 


manure. Place a box over the 
top with just sufficient cut out of 
one side for the goose to go in and 
out. 

NOISE: TO LESSEN WORK- 
SHOP. Put 3 or 4 in. sawdust 
into four kegs, rest a board on the 
top of the sawdust, and place one 
leg of the bench into each keg; 
then fill up the keg with lime, saw- 
dust or sand. Sewing machines, 
etc., may be mounted in the same 
way. 

NUTS: HOW TO LOOSEN. 
(1) Place the head of an axe or 
any heavy weight on one flat of 
the nut, and hit the opposite flat 
smartly with a hammer. (2) Keep 
a strong steady pull on the spanner, 
and hammer the end. (3) Apply 
heat to the nut, and then pull with 
a spanner. 


OAK: MINIATURE. Suspend 
an acorn by a thread of cotton 4 
in. over the surface of water. In 
a few months the acorn will burst 
and send down a root into the 
water. 

OIL: CARRIAGE. Use best 
sperm oil or castor oil for the axle- 
tree, and heavy animal oil or fat 
on the fifth wheel. For wood 
bearing on wood use graphite, or 
tallow, or graphite and tallow 
mixed. 

OIL: COLZA. To improve the 
brilliancy of colza oil when used 
for lighting, add a little camphor 
or spermaceti. 

OIL: CYCLE. Lamp: Mix 17 
parts sperm oil with 3. parts 
paraffin oil, and add a small lump 
of camphor. 

Lubricating: Do not use oil for 
lubricating which may also be used 
for burning. Use the best sperm 
oil, or a good brand of oil sold 
exclusively for lubricating. To 
clean out the old dirty oil from the 
bearing see CYCLE (HOW TO CLEAN). 


NEST—OIL 


OIL: DIRTY. (1) Mix up about 
1 part of strong hot soda dissolved 
in water with 20 parts dirty oil; 
then decant. A good way to decant 
is to mix up the two in a tank, 
which has one pipe entering at the 
bottom and another at the top. 
Then run in water by the bottom 
pipe gently, and the oil will flow 
out at the top. (2) Filter through 
flannel stretched over a metal 
frame, or .through charcoal. [See 
FILTER (OIL AND JELLY)] 

OIL: DRILLING. Oil or soapy 
water should be used when drilling 
steel, wrought iron or any tough 
metal, but cast iron, brass and all 
brittle metals should be drilled dry. 
For drilling glass see GLass (How 
TO DRILL). 

OIL: LINSEED. Good raw 
linseed oil is yellow, transparent, 
sweet-scented and tastes slightly 
of cucumbers, Boiled oil should 
be nearly as limpid as raw oil, and 
free from “ropiness”. A drop 
placed on a sheet of glass should 
solidify or form a skin in less than 
24 hrs. If 12 drops be placed in 
a watch-glass and a piece of 
potassium the size of a pin’s head 
added, the oil should remain un- 
changed, It should smell slightly 
of freshly-crushed linseed meal, 
and should taste mellow, not acid 
or bitter. To boil, fill an iron 
kettle half full of raw linseed oil, 
and add 1 oz. litharge for every 
gallon of oil. Heat it until it 
settles all the foam that appears 
on it, and until a light blue smoke 
appears. Another way to test 
when it is sufficiently boiled is to 
dip a feather in, and immediately 
the feather begins to _ scorch, 
remove the oil from the fire. If 
it be desired to make the oil 
dry very quickly, add more lith- 
arge, and continue to boil about 
15 mins. after the blue smoke 
appears. 

OIL: MACHINE. For heavy 
machine work use best sperm oil, 


OIL—OIL-STONE 


For sewing machines, etc., mix 1 
van olive oil with 1 part paraffin- 
oil. 

OIL, NEATSFOOT: TO RE- 
FINE. (1) Filter neatsfoot oil 
through a cone made of zinc, with 
a few holes at the bottom, and 
filled up with animal charcoal. (2) 
Mix 1 qt. oil, 4 lb. bright lead 
shavings, 4 lb. pounded lime, and 
place in a glass jar. Expose the 
jar to the sun for two or three 
weeks, and then empty out the oil 
and lime into a saucepan with 34 lb. 
washing soda. Boil this gently for 
+ hr., and then set it away in as 
cold a place as possible for 12 hrs. 
The oil will then become congealed, 
and it must then be filtered through 
filter paper, being kept cold all the 
time, or the soda will filter through 
with the oil. Oil thus refined may 
be used for all light machinery, 
clocks and watches. 

OIL, NON-MINERAL: 
TO TEST. Smear tin with the 
oil, and hold it to the light varying 
the angle. If it be adulterated 
with mineral oil, prismatic colours 
will be seen. 

OIL: OLIVE. Pure olive oil 
pales slightly when heated to a 
high temperature; adulterated oil 
does not, and gives off an offensive 
odour. To refine olive oil, place 
lead chips into it, when in a short 
time a white precipitate will be 
formed, leaving the oil clear. De- 
cant this clear liquid, and keep it 
in a stoppered bottle. 

OIL: PETROLEUM. To test, 
heat watet to 110° Fahr., and. stir 
in a little paraffin. The oil will 
float on the top, and if it catches 
fire when a light is applied to it, 
it should on no account be used. 
To remove the smell of petroleum 
from a vessel in which some has 
been kept, pour milk of lime into 
it, and shake it round; allow it to 
stand for a few minutes, shake 
again, and then empty. The out- 
side is treated in the same way. 


159 


Particles of thick petroleum, which 
adhere to the sides, can be re- 
moved by stirring in shot or 
sand. After the vessel is emptied, 
rinse in clean water, and then fill 
up with water to which 4 salt- 
spoonful chloride of lime has been 
added. Allow it to stand for an 
hour, and then rinse out with clean 
water. If the liquids be hot, the 
operations will be facilitated. 

OIL: SAW. Use animal oil, 
mutton fat, lard or pork rind. 
Do not use mineral or vegetable 
Cin. g ous 

OIL: TURPENTINE. Good 
turpentine oil should be colourless, 
and as clear as water. It should 
have a strong, penetrating smell, 
and be highly inflammable. If a 
drop be put on a sheet of writing- 
paper and held in front of a fire, 
it should dry without leaving a 
mark. 

OIL: WAGGON. Dissolve 3 o0z. 
soda and 4 oz. potash in 6 oz. 
water. Melt 5 oz. tallow, and 
mix it with 4 oz. sperm oil; then 
pour in the potash and soda 
water and stir; then stir in 8 
oz. graphite till the whole mass 
is homogeneous. [See also OIL 
(CARRIAGE) ] 

OIL: WATCH. Use glycerine, 
purified olive oil or purified neats- 
foot oil. [See Oil (NEATSFOOT : 
TO REFINE), and OIL (OLIVE)] 

OIL-CLOTH: TO WASH. 
Wash with a soft flannel and luke- 
warm water. When nearly dry 
wet with a sponge dipped in milk 
and polish with a dry flannel. If 
very dirty, clean with a warm 
solution of magnesia, and follow 
with warm water, as_ above. 
Never use soap, a hard brush, or 
very hot water. 

OIL-STONE. When the stone 
has been worn hollow or groovy, 
rub it longways on a flat hearth- 
stone or window-sill, or on glass- 
paper mounted on a level board, till 
flat. For chisels, etc., use sweet or 


me 


160 


Olive oil; and if the stone be very 
hard, and will not “bite,” apply a 
pinch of flour emery with the oil. 
For razors and fine cutting tools, 
use a mixture of glycerine and 
alcohol. The proportions vary 
from 3 parts glycerine and 1 part 
alcohol to almost pure glycerine. 
Some stones work better with pure 
water than oil. When selecting a 
stone, draw it lightly over the 
teeth, or the nails. If the stone 
clings, and does not feel gritty, it 
is good. Keep the stone covered 
when not in use. 

ONION KETTLES: TO 
DEODORISE. Dissolve a_ tea- 
spoonful of pearlash or saleratus 
water in the washing water. 

OVEN: OUTDOOR BRICK. 
After preparing the foundation, lay 
two courses of brick for the bottom, 
then build the mouth and part of 
the sides until it is desirable to 
begin to draw the sides inwards. 
Fill up the oven with sand or 
friable earth, and then smooth off 
the top into the desired shape for 
the inside of the oven. Build two 
courses of brickwork over this 
shape with the best mortar. When 
the mortar has set, remove the 
sand. The bricks should be soaked 
in water for 2 hrs. before using 
them. 


PAIL: HOW TO CLEAN 
MILK. Wash the pail as an ordi- 
nary utensil, and then dip the pail 
into a saturated solution of lime 
water, made by mixing quicklime in 
water, and leaving the lime to settle. 
Dip and give a turn as quickly as 
possible, so that all parts of the 
pail are reached, and then set the 
pail to drain. In some cases this is 
preferable to the usual scalding 
method. Give the pail three coats 
of copal varnish about once a 
year. 

PAIL=-RACK. Nail cleats 14 in. 
x 2#in. 8 in. apart on to an upright 
post, which should be about 6 in. 


ONION KETTLES—PAINT 


square, as shown in the illustration. 
This economises room, and allows 


nit 
Merit Mit — 
ae} | NES) 
Bl ‘ 
7 


ff I j) Sawa 
wil | wei 
AUR i 


a free circulation of air round the 
pails. 

PAINT. Wood should be first 
prepared by being planed, and then 
all knots stopped or killed. [See 
KNOTTING] Dip the end of the 
brush only in the paint; begin at 
the highest point, and work down- 
wards. After the surface is coated, 
sweep the brush from end to end, 
allowing the brush to leave the 
surface gradually, and never stop 
abruptly. Apply thin coats only, 
and when the brush is first loaded, 
work at those parts needing most 
protection. Ifthe surface be rough, 
it will require more pressure, and 
more working with the brush. Be- 
fore applying the finishing coats, 
rub down smooth with pumice 
stone and water. The finishing 
coat in a room is preferably made 
“ dead,” z.e., the pigment is mixed 
with turps and only enough oil or 
varnish added to bind it. All 
joints in woodwork for outdoor 
use should be covered with white 
lead before they are put together, 
and driven together while the paint 
is wet. The paint besides preserv- 


al 


PAINT 


ing the wood acts as a cement. 
To test the paint, apply a little to 
the thumb nail, and if it be full of 
specks, the paint is not sufficiently 
ground. Good paint has a clear, 
bright look, and is very adhesive; 
bad paint is dull and watery. 

Board: Make a board from #-in. 
deal, and plane one edge, which 
should be about 2 ft. long, bevel. 
This board should be held in the 
left hand to protect parts not to be 
painted, or to keep paper clean 
when whitewashing a ceiling. 

Driers: The less drier used the 
better, but the longer the paint will 
take to dry; at most 1 oz. drier 
should be added for every 1 lb. 
raw linseed oil. More drier will 
be required in cold than in hot 
weather. For ordinary work the 
following are the usual driers, their 
excellence in order: (a) Japan gold 
size made by boiling linseed oil, red 
lead, litharge, copperas and gum- 
anine together. (6) Pour 3 or 4 
gals. raw linseed oil into a shallow 
receptacle, and add 4 oz. litharge 
for each gal. raw oil. Stir every 
day for a fortnight. (c) Sugar of 
lead. (d)Patentdriers. (¢) Borate 
of manganese. (f) White vitriol. 
(g) Borate of lime. (h) Borate of 
zinc. (i) Sulphate of zinc. (f) (g) 
(2) and (7) are seldom used. 

Grinding : Tie a cotton cloth over 
the top of a small wooden or tin 
bowl, and leave it slightly sagging 
in the centre. Pour paint powder 
on to the cotton, and rub it through 
into the bowl with a piece of wood 
about 2 in. in diameter rounded at 
the end. If the paint is mixed, 
mix it well before passing it through 
the sieve. 

Injuring: Manure, ammonia, 
lime, washing soda and potash 
are very injurious on paint, and 
should be removed with water im- 
mediately. 

Keeping: If there be any paint 
left over in a pot, let a slight skin 
form, and then cover it over with 


11 


161 


} in. raw linseed oil. When wanted 
for use, pour off the oil, remove the 
skin, and stir the paint. 

Oil: For all outdoor work raw 
linseed oil, turpentine and a little 
drier only should be used. For in- 
door work boiled linseed oil may 
be used, though raw oil is always 
better, but takes longer to dry. 
For preparing boiled oil, testing 
oils, etc., see O1L (LINSEED). 

Priming: The first coat for out- 
door work should be the best white 
lead. For indoor work, or where 
rain is not to be feared, mix red 
lead and white lead with thin lin- 
seed oil. For woodwork, first stop 
all holes and cracks with white- 
lead putty stained to the required 
tint. For the priming coat mix 24 
lb. white lead, 1 oz. red lead and 
1 oz. litharge in 1 pt. linseed oil. 
For the second coat mix 2 lb. white 
lead, 44 oz. litharge, 64 oz. linseed 
oil and 14 oz turpentine. For the 
third and subsequent coats mix 
2 lb. white lead, 4 oz. litharge, 
4 oz. linseed oil and 3 oz. turpen- 
tine. These quantities will be 
sufficient for 150 sq. ft. 

Removing: (1) Small spirit jet 
lamps are sold for the purpose of 
removing paint by heat. The 
flame is run over the surface, and 
as the paint blisters it is removed 
with a blunt chisel. After the 
paint is removed, rub down with 
pumice stone. (2) Mix equal parts 
soap, potash and slaked lime with 
water toa paste. Apply this over 
the paint with a brush, and leave 
for 3 or 4 hours, then remove with 
a blunt chisel. (3) Boil 3 lb. wash- 
ing soda and 2 or 3 oz. potash 
in 1 gal. water, and apply it over 
the paint with a brush while hot. 
In afew minutes the paint may be 
scoured off with a stiff brush. This 
method is usually employed for re- 
moving paint from stone. It is in 
most cases preferable to remove 
paint from wood by heat, but where 
acids or caustic soda have to be 


162 


used, wash down immediately after- 
wards with warm water, or the sur- 
face of the wood will be damaged. 

Removing the smell of : Mix 1 oz. 
vitriolic acid in water, and stand 
it in tubs in the rooms which are 
being painted. The tubs should be 
frequently replenished. 

Shading: White is shaded by 
adding black; yellow, by umber or 
ochre; vermilion, by lake; blue, 
by indigo; rose, by black; etc. 

Time : A fine autumn or spring day 
is the best time for outdoor work. 

PAINT: BLACK. To paint 
cloth, mix 2 parts boiling soap suds, 
1 part yellow ochre and I part lamp- 
black. Lay it on as thick as the 
brush will spread. In three days 
finish with black paint. [See also 
PaInT (LAMPBLACK: PURIFYING).] 

PAINT: BLACKBOARD. (1) 
Dissolve 4 oz. shellac in 1 qt. 
alcohol (95 per cent.), and then add 
6 drs. lampblack, 10 drs. ultra- 
marine and 2 oz. powdered rotten 
stone. Before use, shake the bottle 
up and pour some out in a saucer; 
apply as quickly as possible with a 
soft brush. (2) Measure out 1 gal. 
methylated spirits, and mix with 
a portion of it to a thick paste 10 
oz. pulverised pumice stone, 6 oz. 
pulverised rotten stone and 12 oz. 
lampblack. Dissolve 14 oz. shellac 
in the remainder of the spirits, and 
then grind up the paste init. (3) 
Dissolve 4 oz. glue in 4 qt. water, 
and then add 3 oz. flour emery and 
enough lampblack to give a deep 
inky colour. Stir till no lumps are 
left, and apply two.r three coats 
with a woollen rag rolled smooth. 
If the final coat of paint appear 
too glossy, it should be rubbed 
over lightly with a piece of pumice 
stone and water. Then apply 
another coat with less shellac, 
and more lampblack mixed in it. 
If a wall is to be painted, remove 
the whitewash with sand-paper, 
and fill up all holes, and make 
level with plaster of Paris. 


PAINT 


PAINT: BLUE. Mix Prussian 
blue with the oil. To make darker, 
add a little lampblack; to make 
lighter, add white lead. 

PAINT BRICKWORK: TO. 
Before painting with the oil paint, 
apply one of the following grounds 
to stop damp working through, 
which would make the paint peel 
off: (1) Mix 2 lb. mottled soap in 
1 gal. water, and lay it on evenly, 
taking care that it does not lather. 
After 24 hrs. apply a coat of 4 lb. 
alum dissolved in 4 gals. water. 
When dry apply the paint. (2) 
Melt and mix together 14 lb. resin, 
1 lb. Russian tallow and 1 qt. lin- 
seed oil; apply it hot, and when 
dry, paint. (3) Rub down both 
sides of the wall freely with cement 
water, and plug all holes and cracks 
with paint skins. Bricks require 3 
or 4 coats of paint ; cement, 5 or 6 
coats. 1 lb. paint should cover 
from 44 to 6 sq. yds. of wall per 
coat. 1 1b. pitch dissolved in 1 gal. 
tar will cover 15 sq. yds. of wall 
per coat. 

PAINT : BRONZE. Mix yellow 
and black. 

PAINT: BROWN. (1) Mix 
carmine, yellow and black. (2) 
Mix burnt umber and crimson lake. 
This makes a reddish brown. (3) 
Mix burnt sienna and lake; or 
white, red and a little black. This 
makes a light brown. 

PAINT: BUFF. 
ochre with white. 

PAINT BURIED WOOD: TO. 
Mix charcoal with raw linseed oil 
till of the required consistency, 
and apply as ordinary paint. [See 
also TAR PAINT and GaTE-Posts] 

PAINT CARRIAGES: TO. If 
possible do not use paint containing 
gum-shellac. Use alittle japan for 
the drier. Give plenty of time for 
the first coat to dry before applyin 
the next. Do not fill any hole wit 
putty before the first coat is dry. 
Three coats of paint at least are 
usually given. 


Mix yellow 


PAINT 


PAINT : CHESTNUT. 
crimson lake, yellow and a little 
black. 

PAINT: DRAB. (1) Mix lamp- 
black and white. (2) Mix burnt 
umber and metallic brown coloured 
paints. 

PAINT: ENAMEL. (1) Mix 2 
oz. burnt umber, 2 oz. blacklead 
and 4 oz. litharge in 1 lb. raw lin- 
seed oil. Paints mixed with this 
oil have a varnished appearance. 
(2) Mix zinc white with dammar 
varnish and turpentine. Apply 
two coats of white-lead paint, one 
coat of zinc paint, and then one 
coat of the paint varnish. (3) 
Grind up the required pigments 
with pale copal varnish, and add 
also if desired a very little linseed 
oil; then thin with turpentine till 
of the required consistency. All 
enamels should be applied on a 
“flat ’’ ground, which should be of 
the same tint, but slightly lighter 
in shade than the enamel. [See 
also VARNISH (JAPAN) and VAR- 
NISH (LACQUER)] 

PAINT: FLEXIBLE. (1) 
Dissolve 24 lb. soft soap in 14 gals. 
boiling water, and grind the solu- 
tion with 125 lb. good oil paint. (2) 
Mix lampblack with double boiled 
linseed oil. This is used for paint- 
ing canvas canoes, etc. 

PAINT FLOORS: TO. Give 
one coat of the desired colour; 14 
lb. yellow ochre mixed with 1 qt. 
raw oil end a little drier will be 
found very durable. After the first 
coat is dry, stop all cracks with 
litharge mixed with putty. Apply 
the second coat, and when it is 
dry, rub over it with glass-paper. 
Add more japan to the paint for 
the last coat. 

PAINT:GOLD. Mix gold dust 
[see GoLD POWDER] with thin 
varnish or gum water. 

PAINT: GRAY. (1) Mix all the 
paint skins and pot scrapings with 
oil; heat up and strain through a 
cloth. (2) Mix white and black; 


163 


Mix | a little blue may be added to make 


an ash or lead colour. (3) Mix 
white, crimson lake and Prussian 
blue. This makes a flaxen pearl 
gray. 

PAINT: GREEN. (1) Paris 
green. (2) Mix yellow and blue. 
(3) Mix violet and green in equal 
parts. This gives an olive green 
(4) Burn verdigris or any copper 


green to make it olive colour. [See 
also PAINT (BRONZE)] 
PAINT: INDIGO. This being 


a very dark blue, white lead should 
as a rule be added. 

PAINT IRON: TO. The best 
paints for iron are those made 
from iron oxides. Where iron 
comes in contact with wood, use 
red lead and raw oil. Iron oxide 
paints are, however, expensive for 
painting fences, etc., and for such 
work the following will be found 
useful: (1) Dissolve asphaltum in 
turpentine till it is of the required 
consistency. (2) Melt 8 lb. asphal- 
tum, and then add 5 gals. boiled 
linseed oil, 1 lb. litharge and 4 Ib. 
sulphate of zinc. Boil slowly for 
3 hrs., and then add 14 lb. dark 
umber and boil for 3 hrs., or until 
the mass becomes quite thick when 
cool. Thin to the required consis- 
tency with turpentine. [See alsoTar 
PAINT and IRON (How TO BLACKEN)] 

PAINT: LAKE, TEST FOR. 
The best madder lakes are soluble 
in ammonia, but poor madder lakes 
are not. Crimson lake and car- 
mine lakes should be in a very fine 
powder, and when dry, ofa purplish 
tint. 

PAINT, LAMPBLACK: 
TO PURIFY. Place the lamp- 
black powder about 2 in. deep ina 
shallow iron tray over a clean, hot 
fire. Stir the powder till all the 
dirty smoke has been given off, and 
till it becomes red hot. 

PAINT: LILAC. Mix ultra- 
marine, white and a little carmine. 

PAINT: MAHOGAN Y- 
COLOURED, Mix lampblack 


164 


with Venetian red; and when dry, 
varnish. 

PAINT PLASTER: TO. If 
the walls have been previously 
wlsitewashed, they must be scraped 
with a flat edge of steel, such as the 
back of a saw-blade, then rubbed 
down with sand-paper, then with 
pumice stone and _ thoroughly 
brushed. Fill up any cracks 
there may be with plaster of Paris 
mixed with vinegar and water. 
For the first coat, mix 4 lb. white 
lead to 1 pt. linseed oil; second and 
subsequent coats, 5 lb. white lead 
to 1 pt. linseed oil. For outdoor 
plaster, use red lead instead of 
white lead for the first or priming 
coat. 

PAINT: PURPLE. (1) Mix 
madder red and ultramarine. (2) 
Mix vermilion and ultramarine. 
(3) Burn carmine madder till of 
the required shade. (4) Mix dark 
red and violet. The paint sold as 
‘purple lake’’ nearly always fades 
very soon. 

PAINT, RED LEAD: TEST 
FOR. Pure red lead paint powder, 
when slightly compressed with the 
finger, should show no crystals. 

PAINT: ROSE. Mixcarmine, 
vermilion and white lead or zinc. 

PAINT: SALNION. Mix burnt 
sienna, white and a little orange 
chrome. 

PAINT: SCARLET. Mix car- 
mine with a very little yellow. 

PAINT: STONE ~- COLOUR. 
(1) Grind 25 parts white lead, 2 
parts burnt umber and 1 part 
ultramarine in raw oil. This 
gives a bluish tint. (2) Mix umber, 
sienna, or yellow and white. This 
gives a tint as Portland cement. 

PAINT, ULTRAMARINE: 
TEST FOR. (1) Placea little on the 
thumb nail, and rub it with the ball 
of the finger. If it be full of hard 
specks, and feel gritty, the paint is 
poor. (2) Place a little in a shovel 
over a clear fire, and heat red hot. 
When cooled, the paint should be 


PAINT—PAINTED SURRACES 


as it was before heating. (3) Pure 
ultramarine looses its colour when 
mixed with lemon juice. 

PAINT: VERMILION. Ver- 
milion after a short time usually 
turns brownish. To prevent this, 
add 1 part flowers of sulphur to 8 
parts vermilion before mixing. To 
test vermilion, mix it with muriatic 
acid. Ifthe paint remain unchanged 
the paint is good, if it turn grey the 
paint is poor. Orange coloured 
vermilion is the best. 

PAINT : WHITE=-LEAD. Mix 
best white lead with raw linseed 
oil, turps and a little drier for the 
first coat for woodwork, etc. It 
should also be applied to the joints 
in wood for outdoor use before 
they are put together. A cheap 
white paint for fences and barns is 
made by mixing 3 lb. crude petro- 
leum, 1 Ib. linseed oil and 1 Ib. 
white lead. To test if the paint 
be pure: (1) Place some white 
lead on a shovel, and heat it over 
aclearfire. Ifitremain unchanged, 
it is most probably pure; if adul- 
terated, it will turn gray or crumble. 
(2) Dissolve white lead in dilute 
nitric acid; evaporate nearly to 
dryness ; dilute with distilled water, 
and filter. If any residue be left, 
the paint has been adulterated. 

PAINT ZINC: TO. (1) Dass 
solve 1 part chloride of copper, 1 
part nitrate of copper and 1 part 
sal-ammoniac in 64 parts water; 
then add 1 part commercial hydro- 
chloric acid. Brush the sheets of 
zine over with the mixture, and in 
about 24 hrs. the coat will have 
become dry, leaving a black rough 
surface on the zine to which the 
paint will adhere. (2) Any desired 
colour can be obtained by mixing 
the pigment with acetate of lead; 
as for instance, blacklead mixed 
with the salt gives a light brown 
tint. 

PAINTED SURFACES: 
TO WASH. Rub the surface 
over with a damp flannel and best 


PAINTINGS—PAPER 


Spanish whiting, and rinse with 
clean water. 

PAINTINGS : TO RENOVATE 
OIL. The amateur should not at- 
tempt to restore valuable pictures, 
but should send them to a profes- 
sional. If the pictures be not very 
valuable, mix ox-gall with water, 
dip a small clean sponge in, wring 
it fairly dry, and pass it over the 
picture again and again, continually 
changing the surface of the sponge, 
and keeping it damp with clean 
liquid. When the surface dirt 
seems removed, wrap the sponge 
in clean linen, and then rub it 
over as before. If the linen remain 
clean, all the surface dirt has been 
washed off. This will often be 
sufficient. Water should never be 
run over a picture, hot water and 
soap being especially ruinous. The 
varnish may be dissolved by spirits 
of wine, ammonia water, liquor 
potassae, naphtha, oil of lavender, 
soda, etc. It is therefore obvious 
that a good deal of experience must 
be acquired before one can decide 
which is the proper solvent to use, 
as the application of awrong solvent 
is often harmful. As a rule it will 
be safe to dampen a pad of linen 
with turpentine, and rub gently, 
always presenting a clean surface 
of the pad, or the dirt may be 
rubbed in. If the picture be then 
cleaned sufficiently it should be re- 
varnished with special varnish sold 
for the purpose. If the picture be 
still dirty, it is generally safe to 
dilute 12 parts spirits of wine (58°) 
with 3 parts water or turpentine, or 
by the addition of 2 parts unboiled 
linseed oil, and to soften remove the 
varnish by wiping the liquid over 
with a linen pad; leave it for a 
minute, and then remove the soft 
varnish with a damp sponge. Un- 
varnished pictures are best cleaned 
by wiping them over with damp 
chamois or buff leather. . The 
colours of a picture from which 
the varnish has been removed 


165 


may often be brightened by placing 
the picture in an air-tight box, in 
the bottom of which there is flannel 
dampened with strong alcohol. 

PAPER: CARBON. Mix well- 
pulverised carbon and sweet oil to 
a paste, and rub it over paper with 
a flannel. To trace a pattern ona 
piece of paper, lay the paper down, 
place the black side of the carbon 
paper next to it, and on the top or 
clean side of the carbon paper 
place the pattern to be traced. 
Go over the pattern with a steel or 
ivory knitting needle, remove the 
pattern and carbon paper, and the 
pattern will be marked on the 
bottom sheet of paper. 

PAPER CREASES: TO RE-~ 
MOVE. Slightly moisten the back 
of the paper, place a cloth over it, 
and iron with a hot iron. If there 
be a bundle of papers, sprinkle 
the papers with water at regular 
intervals, and then place the bundle 
under pressure. 

PAPER: FIREPROOF. Dis 
solve 8 oz. alum and 33 oz. white 
soap in 4 pts. water. In another 
vessel dissolve 2 oz. gum-arabic 
and 4 oz. glue in 4 pts. water, 
and then mix and heat the two 
solutions. Immerse the paper in 
the solution, and hang it up to dry. 

PAPER: GREASY. Expel as 
much oil as possible by heat, and 
then apply some turpentine to the 
hot paper; complete by rubbing 
over a little alcohol. To write on 
greasy paper, add a little ox-gall 
and salt to the ink. 

PAPER: METALLIC, (1) Soak 
the paper in a saturated solution 
of alum, and then pass it through 
a saturated solution of carbonate 
ofsoda. (2) Add carbonate of soda 
gradually to a saturated solution of 
alum until all effervescing ceases ; 
then apply it with a soft brush to 
the paper. 

PAPER: PARCHMENT, Mix 
1 part nitric acid in 3 parts water, 
and immerse unglazed paper in it. 


166 


Immediately the paper hardens, 
wash it in clean running water, 
and then place it in water with a 
little ammonia in it. Take it out, 
and stretch it on a board to dry. 

PAPER: HOW TO REPAIR, 
(1) Macerate paper and gum water 
thoroughly with a knife till it is as 
thin butter. This paste should be 
applied with a very fine miniature 
paint brush along the edge of a 
tear, and the other edge pressed 
down on to it. Worm holes, etc., 
may be filled also with this paste. 
To make large quantities of this 
paste, place paper clippings in 
water, and leave them for about a 
week, changing the water every 
other day. When quite soft, pound 
them up in a mortar, and then boil 
in water. Allow the pulp to cool, 
squeeze out all superfiuous water, 
and then pound it up with flour 
paste or gum water. (2) Another 
way to mend tears is to paint the 
torn edges with size, and then run 
the joints between rollers under 
pressure. 

PAPER: TRACING, (1) Dis- 
solve 2 oz. Canada balsam in 3 oz. 
turpentine with a trace of nut oil 
in it; sponge the paper down with 
this liquid, and hang it up to drain 
and dry. Then roll between rollers 
covered with paper under pressure. 
(2) For temporary purposes damp 
the paper in benzine. 

PAPER: TRANSPARENT, 
Mix 6 parts turpentine with 2 
parts gum-mastic, and immerse 
unsized paper in it. [See also 
PAPER (TRACING) ] 

PAPER: WATERPROOF, (1) 
Dissolve 19 oz. white soap in 1 qt. 
water. In another vessel dissolve 
14 oz. gum-arabic and 54 oz. glue 
in 1 qt. water. Mix and then 
warm the two liquids. Soak the 
paper in the hot liquid, and hang it 
up todry. (2) Dissolve pure Para 
rubber cut up into fine shred in 
bisulphide of carbon and 6 per cent. 
alcohol. Apply the mixture with 


PAPER—PAPER-HANGING 


a scent atomiser, or as a varnish, 
two or three times, drying each 
coat at a gentle heat, not exceeding 
150° Fahr., before applying the 
next. This also makes the paper 
proof against acids and alkalies, 
[See also DRAWINGS (How TO FIX 
Crayon)] (3) For stiff cardboard, 
mix 4 parts slaked lime and 
a little alum in 3 parts skimmed 
milk. Give two coatings of the 
liquid with a paint brush. 
PAPER-HANGING. Old 
highly-coloured paper should be 
removed before repapering by 
wetting the paper with hot water, 
and scraping it off with a steel 
scraper. If the wall be white- 
washed, wash it with a mixture of 
vinegar or salt and water. Apply 
paste both to the wall and to the 
paper. Trim one edge of the 
paper, and cut a dozen or so strips 
slightly longer than the distance 
from the cornice to the bottom 
board or dado, so that the pattern 
may be madetomatch. Lay them 
face down on a table, which should 
be larger than the strips. Paste 
the back side of the wall-paper 
[see PASTE (PAPER-HANGER’S)], be- 
ginning at the lower end, to 
prevent the paper becoming tender 
at the top by the moisture soaking 
through. After pasting, take hold 
of the two lower corners and 
double the strip. Then double the 
upper half back again, letting the 
lower end project a few inches 
below where the first fold was 
made; now take hold of the two 
upper corners, and carry the strip 
to the wall. Commence papering 
in a corner, and go round to the 
right or left, depending on which 
edge of the paper is trimmed, and 
also work away from the source 
of light, so that the joint does not 
throw a shadow. After pasting 
the upper edge to the wall, step 
down, pull out the folds, and roll 
the paper down on to the wall. 
If the paper be good, roll it down- 


PAPIER-MACHE—PASTE 


wards with a roller, and then rub 
all over with a soft cloth; if cheap 
paper be used, brush down with a 
broom, for a cloth would smudge 
the colours. Hang the next strip 
in the same way, matching and 
overlapping the first strip. Each 
strip of paper should project over 
the cornice and the board at the 
bottom. Run the finger or the 
back of the scissors over the paper 
along these angles, and cut off the 
paper to the mark formed with 
long shears; then stick smoothly 
in place. Cut to fit over the door, 
fireplace and windows in the same 
way. After a few strips have been 
hung, use a plumb to see if they 
hang perpendicularly; if they do not, 
lap the strips at the top or bottom 
to bring it plumb after a few more 
strips have been hung. If the 
hands perspire freely, rub a little 
plaster of Paris over-them. 
PAPIER-MACHE. (1) Cover 
a sheet of good hard writing-paper 
with best flour paste, to which has 
been added a little glue, alum and 
oil of cloves. Lay another sheet 
of paper on the top, and roll with 
a rolling-pin; then paste, and lay 
on a third sheet, and roll again, 
and so on till the paper has become 
of the required thickness. Now 
lay it ina mould of carved wood, 
plaster of Paris not giving such a 
sharp impression, and roll it till 
the paper has filled up the mould 
entirely; then leave till the paste 
begins to dry, when it should be 
rolled again, and then left to dry 
for about a week under pressure. 
The papier-maché may be dried 
under pressure by clamping it and 
the mouldin a tennis racquet press, 
or better, under a letter or linen 
press. When dry stain it to the re- 
quired shade, then rub over with 
oil, applying it very sparingly on the 
tip of the finger, and finally varnish 
with Scehneé No 3, or some similar 
elastic varnish. Paper treated in 
this way may be made up into 


167 


panels for cupboards, books, etc., 
and if dried under pressure will be 
as hard, if not harder, than wood. 
If parchment paper be used, the 
resulting papier-maché will then 
have the properties of horn. (2) 
Make a paper pulp with paper and 
gum [see PAPER (REPAIRING)], and 
mix it with white lead, glue and 
any required pigment. Work this 
up in the hands till as a thick 
dough. Then oil the mould, and 
put a thin layer of the dough in, 
pressing it well into every corner 
and crevice. Ifthe mould be made 
of plaster of Paris, give it two or 
three coatings of shellac varnish 
before oiling. Paste two or three 
layers of paper or muslin on the 
back of the paper pulp, leaving 
about 1 in. projecting round the 
edge, to prevent the cast buckling 
when it dries, and leave for about 
a week to dry. This is properly 
speaking Papier-pourri, Papier- 
maché being sheets of paper pasted 
together as in No. 1. (8) Mix 1 
oz. tissue paper, 5 oz. thick flour 
paste and 1 oz. pipe-clay. Grind 
it up in a mortar, adding a little 
at a time with the required pig- 
ment. Then cast into a mould, as 
explained in No. 2. 

PARALLEL BARS. These are 
made of four upright posts 3in. x 44 
in. fixed in the ground or mounted 
onaframe. The two bars should 
be of 2 in. round ash, and at least 
6 ft. long. They should be sup- 
ported about 20 in. apart, and 
about the height of the hips. 

PASTE: BOOKBINDER’S. 
(1) Steep 4 oz. starch for 15 min. 
in water, and stir it till it becomes 
milky. Add a pinch of alum, and 
boil. Then add a little oil of 
cloves or carbolic acid to keep the 
paste from turning mouldy. (2) 
Make 1 teaspoonful best white 
starch to the consistency of cream, 
and pour boiling water over it till 
it appears as a jelly. Then leave 
to cool, and when set, squeeze it 


168 


through muslin. [See also GLUE 
(BOOKBINDER’S)] 

PASTE: CLOTH. Mix together 
1 lb. best wheat, 1 tablespoonful 
powdered resin, and 1 tablespoon- 
ful powdered alum with water toa 
paste. Place it over the fire, and 
stir till all lumps are removed, and 
until the stirring spoon will remain 
upright in the mixture. Apply a 
thin layer to the surface, and then 
press the cloth on with rollers. 
Leather should be wetted before 
being pressed on to the pasted 
surface. The edges are trimmed 
after the paste has dried. 

PASTE: GLUE. Mix fiour, 
white of egg and yeast together; 
work up to a dough with gum 
water, and dry in an oven. When 
nearly dry, cut it up into cakes for 
use. To colour red, add vermilion 
or carmine; blue, add indigo; 
yellow, add saffron; etc. 

PASTE: LEATHER TO 
PAPER. Soak 4 oz. glue in 1 lb. 
water for several hours; warm till 
the mixture is clear, and then 
dilute with 4 lb. boiling water. In 
another vessel mix two or three 
times as much thin starch paste. 
Mix the two together, and stir 
whilst both are boiling. [See also 
PAsTE (CLOTH)]. 

PASTE: OFFICE. Mix 1 qt. 
wheat flour in 2 gals. cold water; 
rub gut all the Jumps, and then add 
4 oz. finely-pulverised alum. Boil 
for about 10 mins. till of a thick 
consistency; then add 1 qt. hot 
water, and boil again until the 
paste becomes pale brown and 
thick. The paste should be stirred 
whilst being boiled. This paste is 
strong, and will keep for about 2 
weeks. 

PASTE: PAPER-HANGER’S. 
(1) Mix 200 parts flour paste with 
20 parts liquid glue [see GLUE 
(Ligurp)], 1 part white of egg, and 
a little carbolic acid or oil of cloves 
to prevent the paste turning musty. 
(2) Make a batter of 1 pt. wheat 


PASTE 


flour, and thin out by gradually 
adding 1 gal. hot water. Keep it 
over a fire, and stir till the milky 
appearance turns a cream colour ; 
then leave to cool, and add a little 
carbolic acid or oil of cloves. (3) 
Mix 1 oz. alum dissolved in hot 
water to every 3 qts. flour paste. 
Wash the walls with glue water, 
and apply this paste to the paper, 

PASTE: PAPER TO METAL, 
GLASS, ETC. (1) Add a little 
honey, acid, glycerine, sugar, 
treacle, or a solution of chloride of 
antimony to ordinary paste or glue. 
The metal or glass must be freed 
from grease before applying the 
paste. (2) Mix 1 part albumen of 
eggs with 1 part water, and apply. 
When dry, pass a hot iron over ta 
make the paste waterproof. The 
metal should be freed from all 
grease before applying the paste. 
[See also PASTE (WATERPROOF) } 

PASTE: PERPETUAL. Dis- 
solve 1 oz. alum in 1 qt. water, and 
when cold add flour till of the con- 
sistency of cream. Stir in 1 tea- 
spoonful powdered resin, 2 or 3 
cloves, and boil to a mush, stirring 
all the time. This paste should be 
kept well corked up. 

PASTE : RICE-FLOUR. Boil 
rice, and work it in water till it is 
formed into a paste. If cloves are 
boiled with it, the paste will keep 
a long time, and is specially suitable 
for clean fancy work, etc. When 
made of the consistency of plaster, 
it may be formed into models, 
which can be highly polished when 
dry. 


ry 

PASTE: STRONG. Mix flour 
in cold water till as a plaster, and 
then pour boiling water over till as 
a paint. Then add 1 or 2 table- 
spoonfuls brown sugar, a little 
corrosive sublimate, and 5 or 6 
drops oil of lavender. . 

PASTE : WATERPROOF. Mix 
1 1b. flour paste, 1 lb. glue, 1 oz. 
linseed oil, 1 oz. turpentine and 1 
oz. varnish, This paste is useful 


PATH—PHOTOGRAPHIC PLATES 


for affixing labels to jars in damp 
places. The paste should be ap- 
plied to the paper while lukewarm, 
left to dry, and then moistened and 
pressed on to the jar. 

PATH: ASPHALT. Mark 
out the path, and then excavate 
about 4 in. Lay 2 in. x 4 in. 
scantlings along the sides of the 
excavation, and stake them firmly 
down, The stakes should be sawn 
off level with the scantling. Spread 
the concrete [see CONCRETE (TAR)] 
so that the surface will be about 1 
in, above the scantling The path 
must be made to camber about 1 
in. higher in the middle than at the 
sides for every 3 ft. of breadth for 
the rain water to drain off into the 
gutter at each side. 

PATH: CURVED. For lawns 
and ornamental grounds, lay out 
the paths with aclothes-line. Lay 
the line till the desired curve is 
obtained, and then stick small 
stakes all along. Cut a stick the 
desired width of the walk, and 
using this as a gauge set the second 
row of stakes equidistant from the 
first row. The stakes should be 
left in position until the walk is 
finished. 

PATH: GRAVEL. The ground 
should be excavated till a good 
foundation is found. Fill up to 
within 2 in. of the surface with 
cinders, or bricks, or stones, or 
coarse gravel, and cover with 2 
in. clean fine gravel. Frequent 
rolling prevents the growth of 
weeds. Ifthe ground retains water 
a tile drain [see DRAINAGE (LAND: 
Tile)| should be laid about 18 in. 
below the surface. 

PATH: SAWDUST. Equal 
parts sand and sawdust, confined 
between wood or bricks, may be 
used. Such a path, however, re- 
tains moisture, and the sawdust 
gets carried into the house. 

PHOTOGRAPHIC PLATES: 
TO DEVELOPE. (1) Pyrogallol de- 
veloper: (a) Mix 100 grms. crystal- 


169 


lised sulphite of soda with 500 c.c. 
distilled water, and 8 drops toncen- 
trated sulphuric acid. When the 
soda is entirely dissolved, add 14 
grms, pyrogallic acid. (b) Mix 50 
grms. crystallised carbonate of 
sodium (soda) with 1000 c.c. dis- 
tilled water. This must be kept 
in a well-corked bottle. For use, 
mix 20 parts (a) with 40 parts (6d), 
and then add 2 or3 drops potassium 
bromide. For over-exposure add 
more bromide or less (bd) ; for under- 
exposure do not add bromide unless 
the plates are fogged. Begin de- 
veloping with a partially used-up 
developer. To obtain soft plates, 
add water up to 50 per cent. 

(2) Hydrokinone developer: (a) 
Mix 40 grms. crystallised sulphite 
of soda with 600 c.c. distilled water, 
and then add 6 grms. hydrokinone. 
(5) Mix 50 to 70 grms. carbonate of 
potash, or 50 to 100 grms. carbonate 
of soda with 600 grms. water. The 
more potash used the quicker the 
developer will be. For use, mix 
equal parts (a) and (b), and adda few 
drops of a 10 per cent. solution of 
potassium bromide. A small addi- 
tion of yellow prussiate of potash 
makes clearer work, and hastens 
development. The developer when 
mixed keeps good, if well corked, 
for about a week. This developer 
must work at a temperature of at 
least 60° Fahr.; and it is slower 
than No. 1, unless caustic soda or 
potash be added, when it becomes 
very rapid. 

The exposed plate is taken out 
under a red light in a dark room, 
and laid film upwards in the bath. 
The developer is then poured over 
it, so that it covers it immediately. 
In rocking the dish the plate should 
always be kept immersed, and even 
with the best red glass obtainable 
it is advisable to work as much as 
possible ina shadow. Ifafter long 
development details are indistinct, 
the plate has been under-exposed, 
and it should then be moved into 


170 PHOTO PLATES—PHOTOSENSITISED PAPER 


a bath without bromide. If the 
picture appear quickly and soon 
passes away, the film turning gray 
all over, the plate is over-exposed. 
In this case add potassium bromide, 
and begin with an old or diluted 
developer. The plate will be de- 
veloped sufficiently when it appears 
darker to look through than it does 
after being fixed. 
PHOTOGRAPHIC PLATES: 
TO FIX, Mix 100 grms, hyposul- 
phite of soda with 500 c.c. water 
and 25 to 50 c.c., acid sulphite of 
soda. The addition of acid is not 
necessary, but very beneficial, and 
by the repeated additions of it the 
bath can be used much longer. 
After the plate has been fixed in 
the hypo. bath, it should be washed 
in running waterfor an hour. Then 
put it in a rack to dry, and remove 
any impurities with a stiffish paint 
brush while the gelatine is still 
moist. Todry plates rapidly, drain 
most of the water from them, then 
immerse for 5 to 10 mins. in strong 
alcohol, and the plates will be dry 
10 mins. later. Particular parts of 
plates, which are too dark, can be 
reduced by rubbing with a linen 
cloth moistened with strong alcohol 
(95 per cent.). The plate may 
then be varnished. [See VARNISH 
(PHOTOGRAPHIC) ]} 
PHOTOGRAPHIC SENSI- 
TISED PAPER: TO PRINT. 
Place the sensitive paper behind 
the negative plate, the two pre- 
pared surfaces together, and place 
in the strongest light obtainable. 
In damp, foggy days, place a piece 
of filter paper dampened with a 
solution of carbonate of soda behind 
the sensitive paper to prevent it 
turning yellow. Printing is com- 
plete when all details in the high 
lights are distinct, and when the 
whole print is slightly darker than 
the picture is to be when finished. 
The proper degree of printing can 
only be told by experience, for it 
depends on the character of the 


paper, negative and bath. When 
the paper is printed, lay it in a 
dish with ordinary water, and rock 
frequently. After about 10 mins., 
when the water has become quite 
milky, pour it off and add fresh, 
and so on until the water remains 
clear. The print is now ready for 
toning. 

PHOTOGRAPHIC SENSI- 
TISED PAPER: HOW TO 
TONE AND FIX. (1) Borax toning 
bath: (a) Dissolve 7:5 grms. borax 
in 1000 c.c. distilled water. (b) Dis- 
solve 1 grm. double salt of gold 
and soda (commercial chloride of 
gold is nearly always this double 
salt) in 50 c.c. distilled water. For 
use, mix 200 c.c. (a) with 3 c.c. (bd), 
and use immediately. Phosphate 
of soda may be substituted for the 
borax. 

(2) Commercial toning bath: (a) 
Dissolve 1 grm. borax in 1000 c.c. 
distilled water. (b) Dissolve 4:5 
grms. re-crystallised acetate of 
soda in 1000 c.c. water. (c) Dis- 
solve 1 grm. double chloride of gold 
and soda in 50 c.c, distilled water. 
For use, mix 50 c.c. (a), 50 c.c. (?) 
and 4 c.c, (c) for every sheet to 
toned. 

(3) Combined toning and fixing 
bath: Mix together in the follow- 
ing order 2000 c.c. distilled water, 
500 grms. hyposulphite of soda, 55 
grms. sulphocyanide of ammonium, 
20 grms. acetate of lead, 15 grms. 
powdered alum, 15 grms. citric acid 
and 20 grms. nitrate of lead. Allow 
this mixture to stand for a week; 
then filter, and then mix with it 
150 c.c. solution of 1 part gold 
chloride in 200 parts distilled 
water. 

(4) Fixing bath: Mix 100 grms. 
hyposulphite of soda with 500 c.c. 
water. The prints after being 
printed, and then soaked in water 
have a reddish tint, which should 
be removed by immersing them in 
the toning bath No. 1 or 2. This 
toning should preferably be done 


PHOTOGRAPHS—PIG PEN 


in weak daylight, as the colour of 
the print can then best be judged. 
The liquid being placed in a bath, 
the prints are placed in it one over 
the other, surface side uppermost, 
every print being entirely im- 
mersed. As the prints are toned 
to the colour of a finished photo- 
graph, they are dipped in a dish of 
clean water, and they are then all 
toned together in No. 4, being run 
through the fixing bath one after 
another, and being left in from 10 
to 15 mins. The bath should be 
frequently rocked and generously 
supplied with fresh mixture. Ton- 
ing and fixing may also be carried 
on in the same bath at the same 
time. The drawback is that after 
some time the prints are toned in 
it, but not thoroughly fixed. It is 
therefore best to finally fix in the 
hypo. bath No. 4. The advantage 
is that the desired tone can more 
easily be obtained by the inex- 
perienced, than when using two 
separate baths. After fixing, the 
prints are put in a large vessel 
with clean water for about 3 hrs., 
the water being changed at least 
once every 10 to 15 mins. Prefer- 
ably the prints should be placed 
under running water for 2 to 3 hrs. 
The prints are then hung up to 
dry, or dried between filter paper, 
which should be changed several 
times while they are drying. They 
are then trimmed up, and may be 
made slightly damp again, and 
pasted on to mounts. 
PHOTOGRAPHS: TO 
COLOUR. (1) If the photograph 
be mounted, soak it off the mount. 
Make a paste of 14 parts water to 
1 part starch, and boil it till trans- 
parent. Cut two pieces of thin glass 
the size of the photograph. When 
the photograph is quite dry, spread 
the paste on both the face of the 
picture and on one piece of glass, 
and lay the two pasted sides to- 
gether. Cut two thicknesses of 
good wrapping paper, put them on 


171 


the back of the photograph and 
work out the paste from the centre 
towards the edges, changing the 
paper as soon as it becomes sticky. 
When dry cover the photograph 
with castor oil till transparent, and 
remove the surplus oil with a 
sponge. Paint the prominent parts 
(in a figure the eyes and jewelry) 
on the photograph side with water 
colours. Cover this with the other 
piece of glass, and paint on the 
second glass with oil colours all 
the other parts, having put small 
pieces of cardboard on all sides of 
the second glass to keep the two 
glasses separate. (2) Cover an 
unmounted photograph with cas- 
tor oil, and leave it under pressure 
between two sheets of cartridge 
paper till all surplus oil is removed. 
Then paint on the back as if for 
a magic lantern slide. [See Macic. 
LANTERN SLIDES] This method 
is harder and sharper than No. 1. 
(3) Dissolve Canada balsam in 
benzol, and use instead of the 
castor oil. 

PIG PEN: PORTABLE, Cut 
two pieces of 6 in x 8 in. timber 
14 ft. long ; dress one end of each 
in the form of a sled runner, and 
lay them parallel, with the 6 in. 
face on the ground, 8 ft. apart. 
Cut two pieces of 4 in. x 4 in. 
scantling 9 ft. long, and halve or 
tenon them into the runners 
crosswise, so that they lie flush 
on the top of them, thus keeping 
the runners 8 ft. apart. Lay ona 
floor of 2 in. deal over one half of 
the surface, i.¢., over 8 ft. by 7 ft. 
Mortise in six uprights made from 
4 in. x 4in. wood 6 ft. 6 in. long, 
placing one at each end and one 
in the middle of each runner; make 
these uprights flush on the outside 
with the runners. Nail 1 in. 
match-boarding on the _ inside, 
dividing the whole with a cross 
partition on the line of the floor 
and the two middle uprights. 
Roof over the floored half, and 


i172 PIGEON HOUSE—PIGEON MARTIN BOX 


make a sliding door in the partition, | broad x 9 in. deep x 16 in. high 
so that the pigs may be shut in or | on the side touching the end, and 
out as desired. 11 in. high on the opposite side, to 
PIGEON HOUSE. Cut three | give 5 in. slant to the roof. Let 
pieces 3-in. deal 2 ft. long x 1 ft. | the roof project about 1 in. all the 
broad; nail them side by side on | way round for eaves, and fix them 
to two cleats 1 in.| on to the ends of the cage as 
x lin. x 3 ft. long | shown in the illustration. It is 
to make the bottom, | best to have them detachable. 
which will be 3 ft. | Mark off and cut out with a key- 
long x 2 ft. broad. | hole saw the holes for the birds to 
Cut four pieces of | enter the boxes, say about 4% in. 
2 in. deal 12 in.| broad x 7 in. high. The top of 
broad x 20 in. long| the holes may be made semi- 

on one side, and 29| circular as shown. 
in. long on the other, PIGEON MARTIN BOX. 
as shown in Fig. 1.| A #in. deal board 9 in..broad x 
Nail two pairs, long | from 8 to 10 ft. long will be sufficient 
sides together, on| for the whole box. Make the 
cleats for the two | highest part of the roof the same 
ends. The _ four | height as the length of the floor; 
horizontal side bars | make the breadth of the floor # 
Fic. 1. should be made | of the length. For example, cut a 
from lin. x 1 in. deal; the top hori- | board 9-in. broad x 12 in. long 
zontal piece of 1 in. x 14 in. deal. | for the floor. Cut two end pieces 
Put verticle bars in of thin wood | from a 9-in. board 9 in. high at the 
as shown, or iron wire, or wire net- | sides and 12 in. high in the middle, 
ting. The netting is the quickest, | as illustrated. Cut the sides 9 
but does not make such a neat job. | in. high x 13$ in. long. Let the 
Thejback half of the cage may be} roof overlap the sides and ends 
boarded over with 3-in. dealinstead | about 1 in. for eaves. Cut an 
, entrance hole in both sides 


eee deme about 43 in. broad x 7 in. 
Fia. 2. high with rounded tops. A 
of open-work; the solid half, roof | board 44 in. broad x 9 in. long may 
and back has the advantage that | be nailed on to the bottom of the 
when the sun is strong the box | box, so that 6 in. projects beyond 
can be turned round, so that the | the hole, for the birds to alight on, 
birds are in the shade. Make a| andto place food. One end should 
door in the back to clean out the | be hinged to allow for cleaning. In- 
cage. The two nest boxes, one on | side place a small rough box near 
each end, should be made 18 in. | the unhinged end for the bird to 


SNe 


PIPES—PLASTER 


nest in. The bird will collect her 
own materials for building the 
nest. Fill up the crack along the 
peak of the roof with pitch. Give 
a first coat of white-lead paint all 
over the outside, and a second coat 
of light-coloured paint to suit 
fancy. For further hints on build- 
ing scé KENNEL (Doc). This box 
may be placed on the top of an 
upright post, which should have 
the bark left on, but about 6 ft. 
from the ground a plate of zinc, 
brass or galvanised iron 2 ft. in 
depth should be nailed entirely 
around it, to prevent cats from 
climbing up. The box is best 
placed among trees or bushes, but 
care must be taken that it is not 
placed so near them that a cat 
can jump from a bush or tree on 
to the structure above the metal. 

PIPES: HOW TO PROTECT 
LEAD. When lead pipes pass 
through a wall, they should be 
laid in plaster of Paris. In frosty 
weather cover the pipes with hay 
or straw bands. Drain all the 
water out of the pipe if possible, 
or keep the water running con- 
tinually. 

PIPES: TO THAW FROZEN. 
Crumple a newspaper into a torch, 
light it and pass it along the pipe 
slowly. 

PLANES: TO SELECT. The 
grain lines at the end of the plane 
should be far apart. The timber 
should have been split not sawn; 
this can be seen by following the 
grains on the surface. Reject those 
planes on which the grain seems 
crossed. 

PLANTS: DOUBLE POTS 
FOR. Many plants in pots are 
greatly benefited by placing the pot 
containing the plant into a larger 
pot and filling up the space between 
the pots with earth or sawdust. 
This outside earth or sawdust 
should be kept moist. 

PLANTS: HOW TO REPOT. 
Invert the plant, and hold the hand 


173 


over the earth, then hit the edge 
of the pot lightly by bringing it 
down on a table. . If the roots be 
matted round the sides and bottom, 
the plant needs repotting. Care- 
fully reduce the earth to about 4 of 
its original size, single out the 
matted roots and trim off all that 
is decayed, and then repot in a 
larger pot. If the roots be not 
matted, repot the plant without 
breaking the earth in a larger pot. 
A newly-potted plant must be kept 
in the shade, and well watered. 

PLANTS: TO THAW OUT. 
Allow the plants to remain where 
they were frozen, and darken the 
room. Do not allow the room to 
become warmer that 45° Fahr. for 
24 hrs. Put 2 or 3 drops of spirits 
of camphor in a watering pot of 
water and water the leaves. 

PLANTS : HOW TO TRANS- 
PLANT. If possible transplant 
just before a shower, just before 
night, or on a cloudy day. Move the 
plants when the earth is neither 
very dry nor very wet, and do not 
transplant them into mud. It is 
best to plant them in the ordinary 
way, and then give a good watering. 

PLASTER. To make a good 
wall good materials must be used 
on good laths. Clean sand only 
should be used, and if it be dirty, 
it should be thoroughly washed. 

First coat: Mix 6 barrels of sand, 
1 barrel unslaked lime and 7 lb. 
hair (goat hair is preferable to cow 
hair). 

Second coat: Mix 8 barrels sand, 
1 barrel lime and 7 Ib. hair. 

Last coat: Sift 4 barrel best 
white lime through a fine sieve, 
place it on a board, and hollow it 
out; then add from 34 to } barrel 
plaster of Paris, and work up with 
water. Each coat of the mortar 
must be thoroughly mixed with a 
hoe, not merely stirred round with 
a stick. If the plaster cracks on 
drying, too much lime has been 
used in the last coat; if it sets too 


174 


PLASTER— POKE 


thick, too much plaster of Paris | in the centre of the thread in front. 


has been used. The above quanti- 
ties are sufficient for 60 sq. yds. of 
wall, for which 1,00C laths and 7 
Ib. nails will be required. If walls 
be plastered in frosty weather, 
fires should be kept in the room 
till the walls are quite dry. Ex- 
panded metal is being used very 
largely te take the place of laths 
for ceilings, The metal should rest 
from girder to girder, and it should 
be placed as near the bottom of 
the plaster as possible, but it must 
be entirely embedded. When 
meta] is employed, only the best 
lime cement should be _ used. 
Cover the floor with about 4 in. 
sand to prevent lime stains on the 
wood. 

PLASTER: TO KEEP. Cover 
the mixture over, and keep it moist 
in a cool, damp place. Work the 
mortar over with a hoe periodically, 
to keep it from setting. To keep 
plaster of Paris from setting for 
about 15 mins., add 1 part saturated 
solution of borax to 12 parts of the 
water with which the plaster is 
made. The more borax solution 
there is added to the water the 
longer the plaster will take to set. 

PLASTER: OLD LATHS, ON. 
Jar the old laths till all the 
sand, etc., has di »pped off, brush 
thoroughly with a stiff broom, and 
then dampen them. The new 
plaster should then be applied as 
if the laths were new. 

PLUMB BOB. For most 
purposes a bright nut tied across 
one of the corners with fine whip- 
cord makes a sufficiently accurate 
plumb. The bottom will then have 
a sharp edge, and is far more accu- 
rate than acheap plumb. To test 
a plumb, hang it upon a long nail; 
take a piece of thread longer than 
the plumb string, tie a weight to 
the end, and hang it up in front of 
the plumb. Sight across the two 
threads, and then see if the sharp 
point at the bottom of the plumb is 


; beating his knees,- 


Cut six bars of a sufficient length 


Another way is to twist the string 
round quickly, and see whether the 
point of the plumb describes a 
circle when the rest of the weight 
seems steady. 

POKE: HORNED ANIMAL. 
This is a stronger poke than that 
described for Poke (HorsE). The 
top bar is made movable, to fit 
the poke over the animal’s neck, 


and is kept in place by pins. The 
poke should be deep enough to 
come nearly down to the animal’s 
knees. This poke is also suitable 
for horses. 

POKE: HORSE. Cut a piece 
of green flexible wood, such as ash 
or yew, about 3 or 4 in. diameter, 
and split it down the middle. 
Measure _ the 
length round the , 
horse’s neck, as f 
for a collar, and 
cut the wood ac- fj 
cordingly. The fi 
illustration gives § Bein 
a good idea of &Paath 
the construction.” % 
The double pins 
are put in to keep 
the projecting 
stick in front of 
the horse, and 
save him from 


When the 
animal attempts to jump, the pin 
catches under the rail and holds 
him down. 

POKE : SELF-SUCKING. (1) 


POLISH 


to extend from the animal’s head 
to its shoulder. Bore a hole in 
each end of each bar, and thread 
them on ropes round the animal’s 
neck as a collar. Keep the bars 
at the proper distance apart by 
knots in the rope. (2) Cuta thin 
piece of wood, 23 in. wide x 44 in. 
long ; hollow at one side near the 
edge, so astoformtwo lobes. The 
distance between the knobs of the 
two lobes is about } in., just 
enough to permit their being 
pressed over the thick cartilage of 
the nose, and close enough to keep 
in place. it hangs down over the 
cow’s nose, and prevents her 
getting the teat into her mouth, 
but does not hinder feeding. (8) 
Select a strap of suitable size to 
be buckled on to the smallest part 
of the cow’s head between the 
nostrils and eyes. Drive six nails 
through the leather from the 
‘inside; file the points sharp, and 
then line the strap with another 
piece of leather to support the 
nails, and rivet them both together. 
Strap it on the cow’s head, so that 
the nails project in front. 

POLISH CHAINS: TO. To 
polish chains, etc., place the chain 
in a bottle with chalk tooth-powder, 
water and soap. Put the stopper 
in, and shake till clean. 

POLISH: CLOTHES BOX. 
Dissolve gum-camphor in sweet 
oil, and use as an ordinary polish. 
This polish drives away moths. 

POLISH: FRENCH. (1) Place 
2 oz. bleached shellac and 4 oz. 
sandarac in a bottle with 4 pt. 
methylated spirits, and shake it up 
now and again till the gums are 
dissolved. (2) The usual cheap 
polish is best transparent shellac 
varnish, (3) Dissolve in a hot 
water bath 2 oz. bleached shellac, 
1 oz, pale benzoin and 1 oz. juniper 
in 1 pt. methylated spirits. When 
cold, decant the clear liquid, and 
strain through a fine muslin bag 
lined with wadding. Toclarify any 


175 


French polish if it appear turbid 
see VARNISH (SHELLAC). To apply 
the polish see PoLisH Woop (To). 

POLISH: FURNITURE. 
Cream: (1) Boil and mix 4 oz. 
beeswax shavings and 2 oz. yellow 
soap shavings in 2 Ib. water. 
When dissolved add 1 oz. pearlash, 
5 oz. turps and 4 oz. boiled linseed 
oil. Apply the cream, and polish 
it off with a linen pad; then rub 
briskly with tissue or silver paper. 
(2) Boil 4 oz. soap shavings and 1 
Ib. beeswax shavings in 1 gal. soft 
water, and when dissolved add 2 
oz. pearlash. Toapply, dilute with 
water till as the consistency of 
paint; apply it with a brush, and 
then polish off with a soft cloth. 
(3) Dissolve beeswax shavings in 
turpentine, and then add a little 
boiled linseed oil. Apply a little 
on a linen pad, and polish the 
furniture till dry. This polish is 
also used for floors and stained 
wood, no preparatory polish or 
varnish being necessary. 

Oil: Oil furniture polishes should 
be only used when the furniture 
has a moderate body of polish on 
it. (1) Mix 2 parts boiled linseed 
oil, 2 parts alcohol, 1 part turpen- 
tine and 1 part spirits of ether. (2) 
Mix 1 part turpentine, 1 part lin- 
seed oil and 1 part vinegar; 1 part 
alcohol may be added to thin. (3) 
Place alkanet root in a pot and 
pour boiled linseed oil over to just 
cover it; then boil till the oil is of 
a rich red colour. This polish is 
more especially suitable for ma- 
hogany and red coloured woods. 
(4) Slightly moisten a cloth with 
kerosene oil, and polish. This is 
unsuitable for varnished articles. 

Tripoli: Place 2 oz. powdered 
tripoli in an earthen pot, and just 
cover it with water. Lay a piece 
of flannel over cork or rubber, to 
form a pad, and polish with this 
mixture. Wipe the work with a 
sponge, and if there be an even 
gloss, clean the surface with 


176 


mutton fat or suet. This polish is 
particularly suitable for varnished 
surfaces, but it should not be 
applied too often or the varnish 
will be all rubbed off. 

Varnish: These polishes should 
be applied very sparingly with a 
soft cloth, and then the wood 
polished with a circular motion 
till dry. Properly applied they 
are the best polishes. (1) Dissolve 
% Oz. gum-arabic, 2 oz. gum-copal 
and 2 oz. powdered shellac in 1 qt. 
spirits of wine. Shake the bottle 
up periodically till the gums are 
thoroughly mixed and keep the 
bottle in a warm place. (2) Mix 
2 parts shellac varnish with 1 part 
linseed oil, and shake the bottle 
before using. (3) Dissolve 1 dr. 
camphor in 1 lb. shellac varnish. 
This polish is very suitable for 
painted or stained surfaces, such 
as the panelling round a room, 
The paint must be perfectly dry 
before application, but it may be 
washed afterwards. . 

POLISH IVORY, HORN, 
ETC.: TO. To polish whole tusks 
or horns, mix whiting with vinegar 
or methylated spirits to a cream, 
and apply it briskly with a stiff 
nail-brush, or on a piece of felt 
nailed to a wooden back. When 
all surface marks have been 
removed, polish with chamois 
leather and dry whiting. 

POLISH : LEATHER. Brown 
Cream: Mix 20 fluid oz. best white 
vinegar with 10 fluid oz. soft water, 
and dissolve 2 oz. glue in it at a 
gentle heat; then add 1 dr. soft 
soap, 1 dr. isinglass, and boil; 
finally colour with annatto or tur- 
meric as desired. This polish will 
be found very suitable for brown 
leather boots, etc. 

Enamelled: Warm separately 1 
pt. cream and 34 pt. linseed oil; 
then mix. Apply with a sponge, 
and polish with a soft dry cloth. 

French: (1) Beat 43 oz. stearine 
out into thin sheets with a mallet, 


POLISH 


and mix it with 63 lb. turpentine. 
Heat up as glue in a water bath, 
and while heating, stir continually. 
When hot gradually add 3 oz. 
colouring matter, such as ivory 
black. Pour it out into another 
pot, and stir till cold. To use, 
warm slightly, and rub a very 
little on to the leather; when 
partly dry polish with a silk cloth. 
This polish is very suitable for 
best harness and similar leather. 

Old: Soak 2 parts glue in tepid 
water till soft, add 3 parts Castile 
soap dissolved in warm water, 
then add 5 gills water and 2 gills 
spirits of wine, rubbing until per- 
fectly smooth ; afterwards stir in 2 
parts flour mixed smooth in cold 
water. Put the mixture over a fire 
to steam, stir continually, and do 
not allow it to boil. It can be used 
immediately, or cut up into cakes, 
which may be dissolved in water or 
beer. Apply and polish as for all 
leather polishes. 

Patent; Mix together whites of 
two eggs, 1 tablespoonful spirits of 
wine, 2 large lumps sugar and 
finely-powdered ivory black. Ap- 
ply with a sponge, and then polish 
with a soft cloth. 

POLISH: METAL, PASTE. 
(1) Pulverise 1 lb. chalk or whiting 
in 2 qts. water, and leave it for a few 
minutes till the gritty parts have 
settled to the bottom. Decant in- 
to another vessel, and let it stand 
till the whiting has settled to the 
bottom; then pour off the clear 
liquid, and dry the paste that is 
left. Then pulverise the prepared 
whiting again, and mix it with 1 oz. 
jeweller’s rouge, 8 oz. soft soap 
and 8 oz. prepared suet. (2) Mix 
1 oz. jeweller’s rouge and 1 oz. 
blacklead with 1 oz. prepared suet. 
(3) Pulverise 2 oz. rotten stone to 
an impalpable powder, and mix it 
with 1 dr. oil of amber and 1 oz. 
soft soap. (4) Heat 1 oz. sulphate 
of iron and 1 oz. salt in a closed 
vessel slowly. When fused to a 


POLISH 


hard brittle mass, powder, and 
mix it with about 1 oz. prepared 
suet or lard. 

POLISH STONE: TO. Face 
up the surface as near as possible 
with a chisel. Then select a piece 
of stone at least as hard as the 
stone to be polished, and with a 
flat surface, and rub it over the 
surface to be polished, applying 
coarse sand and water freely, till 
it is evenly scratched all over. 
Glass is sometimes used instead of 
the polishing stone. Then apply 
finer sand and water; then coarse 
emery powder and water; then 
fine emery and water on a pad 
made from a flat weight wrapped 
in felt (an old felt hat answers 
admirably). Then rub with putty 
powder applied on rags, and when 
the polish begins to come up free 
from scratches, continue polishing, 
but do not add any more powder. 

POLISH VARNISHED 
ARTICLES: TO. Rubthe varnish 
with a piece of dampened serge 
dipped in pumice stone ground to 
a very fine powder. Then polish 
with PoLisH (FURNITURE: Tripolt). 
Clean with a dampened flannel 
dipped in whiting, and smooth 
over with the palm of the hand. 

POLISH: VULCANITE, 
CELLULOID, ETC., TO. Re- 
move all deep surface marks with 
emery cloth, and blow away all 
dust. Then rub over with powdered 
pumice stone and water applied on 
a linen pad; wash off all pumice 
powder, and then polish as before, 
substituting putty powder for 
pumice powder. This is a suffi- 
ciently good polish for ordinary 
work; but for very fine work, rub 
over with lampblack and refined 
sperm oil, using the palm of the 
hand for a pad. 

POLISH WOOD: TO. The 
wood must first be made perfectly 
smooth with the finest sand-paper, 
for a scratch will show far more 
after the wood is polished than 


AY; 


before. The pores of the wood 
must then be filled up with plaster 
of Paris. Roll a rag up into a pad, 
dampen it with water, and then 
dab up some plaster on it. Rub 
this well into the pores of the 
wood, a little at a time, and re- 
move all unnecessary plaster before 
it sets. Instead of water, linseed 
oil, or linseed oil with polish added 
may be mixed with the plaster of 
Paris to fill up the pores of the 
wood. Leave the plaster to dry, 
and then go over lightly with No. 1 
glass-paper, and blow away all 
dust. Saturate cotton-wool with 
linseed oil, and go over every part 
that appears white; then remove 
all the oil possible with clean, 
dry linen. Roll up cotton-wool 
tightly into a pad, saturate it with 
the French polish [see Po.isu 
(FRENCH)], and cover it with a 
thickness of calico. Then pass the 
pad smoothly over every part, so 
that a thin coating of polish is 
applied evenly all over the wood; 
then place the wood away for the 
polish to sink in and become hard. 
When the wood is dry, rub it down 
again with No. 1 or No. 14 sand- 
paper, and if the surface be flat, 
polish with a cork rubber. The 
true polishing is now commenced. 
Take an old pad (which is made 
from cotton-wool rolled up, covered 
with calico, and tied up in a bunch 
at the top to hold it by) from out 
of the air-tight tin in which it 
should always be kept, slightly 
dampen the cotton-wool with 
polish, and put a dab of linseed 
oilin the centre of the calico with 
the tip of the finger. | Polish 
round and round in small circles, 
or figures of eight, occasionally 
sprinkling pumice powder spar- 
ingly on to the wood. The pumice 
powder should be kept in a small 
cambric bag, called a ‘‘ pounce” 
bag, and gently shaken for some 
of the powder to work through, 
The bag should always be hung up. 


12 


178 


so that no foreign matter is shaken 
off the bottom on to the wood. As 
little oil as possible should be used, 
or the polish will not finally appear 
clear; only just enough should be 
applied from time to time to keep 
the pad from sticking. Rubber 
after rubber should be used, always 
applying less polish to them as the 
work proceeds. When the polish- 
ing nears completion, a dull smeary 
appearance will be noticed, and the 
rubber will catch on the surface. 
When this is noticed, set the wood 
away to dry upside down, so that 
no dust falls on it, for two or three 
days. If the polish be now looked 
at sideways it will be seen that it 
is pitted, due to the polish sinking 
into the pores of the wood. The 
surface must therefore be lightly 
smoothed down again with No. 0 
sand-paper till level. Now continue 
polishing as before, and after some 
time the polish should come up 
clear and hard, but perhaps a little 
smeary. Set aside again for two 
or three days. Then choose an 
old rubber, apply equal parts of 
polish and best methylated spirits 
to the cotton-wool, and a drop of 
linseed oil on the calico. Draw it 
over the surface so as to only just 
dampen it with polish, and then 
polish finally till the surface comes 
up transparent. Sometimes a final 
seen is given with spirits only. 

his is risky for a beginner, as the 
whole of the polish may come off, 
and the work have to be com- 
menced again from the beginning; 
but if successfully applied, the 
finish is superior to any other. It 
is known as “Sspiriting off’. To 
give a dull finish, proceed as in the 
ordinary way till just before spirit- 
ing off. Then allow it to stand for 
12 hrs. Pulverise pumice stone 
to powder, and place it in a pounce 
bag. Place a drop or two of oil on 
the polishing pad, and then pat the 
bag to shake out a little powder 
on to the work or on to the pad. 


PORCELAIN—PRINTS RADING 


Then rub round as before till the 
surface is as desired. For carved 
work, apply the powder and oil 
with a stiff brush. Then wipe dry 
with clean cloths. Another way 
is to polish to completion by the 
ordinary method; then dampen 
the surface with spirits, just 
enough to “bite” in, and dab all 
over with a stiff brush. This is 
suitable for old oak. Wood may 
be more readily polished in a lathe 
than a flat surface by hand. The 
faster the wood rotates the better, 
so long as the polish is not “fired”’. 
Use a rubber, polish and oil in the 
ordinary way, pressing lightly at 
first, and harder as the work 
nears completion. To polish fret- 
work, place a flat surface, such as 
a coin, in the pad, so that it does 
not catch on the edges and corners, 
Besides the fillers already given 
teak may be filled thus: steep 4 oz. 
alkanet root in 1 pt. linseed oil, and 
rub it over the wood. Then rub in 
with very fine whiting mixed with 
Venetian red or rose pink to match 
the wood. For oak, mix whiting 
with yellow ochre to match the 
tint of the wood. The temperature 
of the polishing room should be 
not less than 65° Fahr.; it should 
be dry and free from dust, etc., 
more particularly road dust. 
PORCELAIN: TO WASH. 
Thoroughly pulverise fuller’s earth 
and remove any hard grains. Mix 
with water, and wash the porcelain. 
POT-POURRI. Spread rose 
petals out in the sun to dry; then 
sprinkle over them a little salt, 
and put them into the jar in which 
they are to be kept till wanted, 
and cover up air-tight. With every 
4 oz. of these petals mix 8 oz, 
lavender flowers, 1 dr. bruised 
vanilla cloves, 1 dr. bruised ben- 
zoin, 1 dr. bruised storax, 20 grs. 
ambergris and 20 drops otto of 
roses. A 
PRINTS FADING: 
PREVENT. 


TO 
Dissolve 3 gills salt 


PROPAGATING BOX—PUTTY 


in 4 qts. hot water. Place the 
cotton prints in while hot, and 
leave in till cold. Hang the prints 
up to dry before washing. This 
salt bath need only be given before 
the first washing. 

PROPAGATING BOX. Make 
a wooden frame with one side 
higher than the opposite side, the 
intermediate sides sloping to match, 
and cover with a large sheet of 
glass. Lay about 2 in. sand all 
over the bottom, which must 
always be kept wet. Keep the 
glass always on, but place the 
whole box in the shade. Plants 
or cuttings taken from the box 
must be kept in the shade for a 
few days when placed in the open. 
This box is really a small hot-bed 
without manure inthe bottom. [See 
Hort-BeEp] 

PUMPS: LEATHER PACK- 
ING FOR. The leather packing 
or piston ring for small work 
should not be more than ,, in. 
thick, and should not be bent up 
the sides of the cylinder more than 
7; in. Ifthe suction fail, put tallow 
on the packing; if this does not 
answer, take the leather out, bend 
the flap in the opposite direction, 
so that what was the inside of the 
leather works on the surface of 
the cylinder, 

PUNT. Cut two lengths from 
1} in. deal 10 ft. long x 9 in wide 
for the sides. Mark off a point 2 
ft. 3in. along one edge from one 
corner, and from the opposite cor- 
ner mark off 4 in. along the end. 
Join up these two points, and cut 


179 


brass screws, and then plane the 
four slants just sawn off, and the 
bottom of the two ends so that they 
continue in one plane. Paint the 
frame with white-lead paint before 
and after being put together. Cut 
twenty-three pieces from # in. deal 
3 ft. 1 in. long x 6 in. wide, and 
lay them crossways on the bottom 
of the sides to form the bottom of 
the boat. Nail one in place with 
copper nails, beginning from one 
end, and lay some calico steeped 
in pitch along the side; then nail 
on the next bottom board, crowding 
it up to the first, and so squeezing 
the calico as tight as_ possible. 
Continue thus till the bottom is 
finished; then plane off the two 
end bottom boards in a line with 
the slant, so that the end boards 
will lie flush. Nail the end boards 
in place in the same way. Saw off 
all pieces of board that project 
over the sides along the bottom 
and ends, and then plane up flush. 
Along the centre of the boat, 8 in. 
apart on the inside, screw down two 
stiffening pieces of pitch pine 2 in, 
x 2in. x 5ft.6in. Put the punt in 
the water, and if there be any bad 
leaks, plug with hemp (made by 
scraping the end of a rope) well 
soaked in tar. Take it out and 
let it dry, and then paint first with 
two coatings of white-lead paint, 
and then a coat of any colour de- 
sired. A seat 12 in. wide at either 
end may be permanently fixed on 
cleats, and another movable one, 
resting on cleats, may be placed 
4 ft. 6 in. from one end for rowing 


| 2 Ra a ar 


off the triangle thus made. Cuta 
similar triangle off the other end, 
as shown in the illustration. Cut 
two pieces from 1} in. deal 3 ft. 
long x 4 in. wide for the ends. 
Screw them firmly in place with 


Put in rowlocks to suit sculls. A 
good punting pole may be made 
from bamboo shod with iron. 
PUTTY. Where it is desired to 
fill up a hole with putty, run over 
the surface with sand-paper, so that 


180 


the hole gets partially filled with 
dust, and then apply the putty with 
a putty-knife. In this way the 
putty does not bed hard against 
the bottom of the hole, and a nail 
can draw a little without moving 
the putty. If the surface is to be 
painted, apply a coat before putty- 
ing, and then give two more coats 
of paint. Another way is to moisten 
the hole, so that the wood swells, 
and when it is dry, apply the putty. 
When large cracks in painted wood 
have to be puttied, mix glue with 
it, and do not smooth down until 
it has thoroughly set. Putty ad- 
heres best to a painted surface. 
The putty should always be made 
some time before it is required for 
use. 
cloth in a cool cellar, or under water, 
or in oiled silk, or in good paper 
saturated with linseed oil. Should 
it become dry, it should be ham- 
mered up with fresh oil. The ex- 
cellence of the putty depends on 
the amount of hammering, and the 
complete amalgamation of the in- 
gredients. 

PUTTY: BREAD. Macerate 
bread with gum and a little glycer- 
ine or rubber cement, and colour 
it to imitate the wood. Rye bread 
makes the hardest putty, which 
forms an excellent filler for wood. 
This composition may also be cast 
into panels, toimitate carved wood. 
When dry, apply oil, rubbing it in 
- with the hand. 

PUTTY : CEMENT. Mix white 
oxide of zinc with linseed oil varnish. 
This forms a very hard putty, and 
is useful for uniting glass and metal. 

PUTTY: HOW TO COLOUR. 
Moisten the colouring matter with 
oil, and then knead it into the putty. 

PUTTY : COMPO. (1) Mix fine 
sawdust with glue, and crowd it 
well into the joint. [See Woop, 
(GRAINLESS)] (2) Scrape 4 oz. 
beeswax into a vessel, and add 
sufficient turpentine to moisten it 
all; then add } oz. powdered resin 


It should be kept in a damp. 


) 
PUTTY—PYROTECHNICS., 


and as much pigmentas is necessary 
to give it the required colour. (3) 
Melt 6 parts shellac, 2 parts resin, 
and 1 part beeswax, and mixin the 
required pigments to match the 
wood. Cast it into sticks as seal- 
ing wax, and run it into the shakes 
and holes with a hot iron. 

PUTTY: LEAD. Thoroughly 
pulverise best dry white lead; mix 
half of it with brown japan till very 
soft; then mix as much of the re- 
maining half with it as is necessary 
to bring it to the required thick- 
ness. Pound the putty with a 
broad-faced hammer till all lumps 
have disappeared, and the putty 
has become soft and elastic. Then 
knead the putty in soft water for 
about 15 mins., and afterwards 
work it out of the water for a few 
minutes longer. 

PUTTY : TO REMOVE OLD. 
(1) Apply a hot iron to the putty, 
when it will become soft, and it can 
then be readily removed with a 
knife. (2) Paint with nitric or 
hydrochloric acid, and leave for 1 
hr., when the putty will be soft. 
[See also Paint (Removing)] 

PUTTY : SLOW DRYING. To 
prevent the putty hardening quickly, 
mix 10 parts Spanish whiting and 
1 part white lead in boiled linseed 
oil ; then add a little sweet oil. 

PUTTY: TO SOFTEN. Break 
the lump into pieces the size of 
a hen’s egg, add a little linseed 
oil, and then enough water to 
cover. Boil for about 10 mins., 
stirring while hot, and then pour 
off the water. [See also Putty 
(To REMOVE OLD)] 

PUTTY: SPANISH WHIT- 
ING. Mix Spanish whiting with 
raw linseed oil, and then pound 
with a hammer till plastic. White 
lead and linseed oil make a much 
better putty. 

PYROTECHNICS. Nearly 
every fire-work is made in the form 
of a composition contained in a 
paper case. The case is made by 


PYROTECHNICS 


rolling paper round a “ former,” 
and this former should in most 
cases be made of brass. It should 
also be about 8 in. longer than the 
case is to be. A choking machine 
is also required, which is shown in 
Fig. 1 in the illustration. It can 
readily be made from hard wood 
faced with brass on the principle 
of a lemon-squeezer. Two sieves 
of copper or brass gauze are 
required—one for mixing the in- 
gredients, having about 20 meshes 
to the inch, and another for sifting, 
having about 40 meshes to the inch. 
A fine hair sieve answers well for 
the mixer, and a muslin sieve for 


the sifter. Copper funnels are re- 
quired for filling the pipes or cases 
with the chemicals. These should 
be made of various sizes to suit the 
work, and they should have the 
spout tapering, so that a good joint 
can be made between the paper 
case and the funnel. A _ good 
general size is 24 in. across the 
mouth by 4 in. high. The smaller- 
sized funnels should have the spout 
longer in proportion to their size 
than the larger funnels. To fill a 
case, the funnel is fitted into it, 
and a “‘rammer’”’ inserted into the 
case through the funnel, as shown 
in Fig. 2. The chemical composi- 


181 


tion is then placed in the funnel, 
and the rammer lifted slightly up 
and down witha sharp jerky motion. 
Fig. 3 shows the rammer alone. 
The rammer should be made of a 
straight brass rod about 8 in. 
longer than the case and 4 of the 
inside diameter of the case. It 
should be a good working fit in the 
spout of the funnel, and should 
work in it perfectly smoothly and 
without catching. A spiral groove 
is cut round the rammer as shown 
in Fig. 3. This allows of powder 
being carried down through the 
funnel into the case. For very 
long rammers of a small diameter, 
notches must be cut instead of 
the spiral, and they should then be 
made of steel wire, as brass would 
not be stiff enough. The end of 
the rammer should be filed off 
square, and then polished with 
emery-cloth. The head or handle 
should be made of boxwood, or 
better still, of gun-metal or lead 
covered with leather, and it should 
be made of a convenient shape so 
that it can be held between the 
thumb and second finger with the 
first finger resting on thetop. The 
“nipple” (Fig. 4) is made from a 
brass rod of the same diameter as 
the former driven into a heavy base 
with the end filed off square, and 
polished with emery-cloth. Thread 
is required for tying the ends of 
the cases, and perhaps the best is 
that used by shoemakers, and 
known as hemp. Red carpet 
thread is often used as it gives a 
better finish to the work. To 
store the chemicals tin boxes are 
suitable for charcoal, etc., but for 
explosive compositions glass bottles 
are preferable. If glass stoppers 
be used, care must be taken to see 
that the seating of the stopper is 
quite clean before inserting the 
stopper, or an explosion may 
result. All bottles and tins must 
be kept quite dry. When using 
the chemicals, only a little should 


182 


be emptied out at a time, and the 
stopper then replaced. No knife 
or any iron or steel should be 
sharpened near the chemicals, and 
for safety it is better to cut up 
all paper, etc., in another room. 
Absolute cleanliness is also very 
essential to safety. For the same 
reason chemicals should be bought 
in very fine powder, except where 
otherwise stated, and they can then 
be mixed by sifting them two or 
three times through the mixing 
sieve. In that case no mortar and 
pestle need ever be used. In very 
few cases only can the chemicals 
be mixed too much, Only the best 
lampblack should be purchased, 
for inferior qualities have been 
known to “ sweat,” and burn from 
spontaneous combustion. Before 
attempting the manufacture of any 
fire-work, one or two should be 
bought as a guide, and taken to 
pieces. 

Bengal Fires: The best size for 
these is for the case to be 1# in. 
internal diameter x 4 in. long. 
The best paper is 35 lb. brown bag 
cap paper, and from each sheet 12 

ieces 92 in. x 4 in. can be cut. 

he strip should be pasted at each 
end along the edges which are 4 in. 
long, but on opposite sides of the 
sheet. A brass former 12 in. 
diameter x 1 ft. long is placed 
about 2 in. from one end and ex- 
actly paralleltoit. This endshould 
then be bent up over the former 
and the former rolled round, so 
that the paper is rolled into a 
tube. The paper should be pasted 
to itself at the end of the first turn, 
and also at the last turn by the 
two strips previously pasted. The 
case should then be placed away 
till perfectly dry. Cut a wooden 
drift so that it is a loose fit in the 
case, and when the case is dry 
place a piece of paper a little larger 
than the diameter of the case over 
the end of the drift; rest the case 
on a fiat surface, and press the 


PYROTECHNICS 


drift and paper down to the other 
end. Then fill up the bottom 4 in. 
of the case with powdered clay, 
and hammer it down with a small 
light mallet and the drift. Then 
add more clay and hammer, and 
so on till the bottom inch or so is 
filled with compressed clay. One of 
the compositions given at the end 
having been selected, 4 in. or so is 
poured into the case, and hammered 
in the same way as theclay. This 
filling and hammering 4 in. at a 
time should be repeated till the 
case is full to the brim. Cut a 
square of thin blue paper a little 
larger than the case, and paste it 
over the top. The fire should be 
supported horizontally so that the 
red hot scoria may fail clear of the 
fire, and not interrupt its even burn- 
ing. White fire: (1) Nitre 8 oz., 
sulphur (pure) 4 oz., black sulphide 
of antimony 20z. (2) Nitre 6 oz., 
sulphur (pure) 2 oz., realgar 1 oz. 
(3) Nitre 4 oz., sulphur (pure) 2 oz., 
orpiment 1 oz. Chertier’s white 
fire: Nitre 8 oz., sulphur (pure) 2 
oz., regulus antimony 3 oz., red 
lead 24 oz. Browne’s white fire: 
Nitre 12 oz., sulphur (pure) 3 oz., 
regulus antimony 2 oz., red lead 14 
oz., orpiment 4 oz., realgar 4 oz., 
finely-powdered metallic arsenic 4 
oz., shellac 4 oz. Golden yellow 
jire: Barium nitrate 5 oz., sodium 
oxalate 1 oz., potassium chlorate 
14 oz., shellac 1 oz., sulphur (pure) 

oz. Red fire: (1) Strontium 
nitrate 16 oz., potassium chlorate 6 
oz., sulphur (pure) 4 oz., copper sul- 
phide 3 oz., mercurious chloride 2 
oz., Shellac 1 oz., lampblack 4 oz. 
(2) Strontium nitrate 10 oz., potas- 
sium chlorate 3 oz., sulphur (pure) 
2 oz., shellac 1 oz. Green fire: (1) 
Barium nitrate 16 oz., potassium 
chlorate 5 oz., sulphur (pure) 3 oz., 
barium chlorate 2 oz., mercurious 
chloride 2 oz., shellac 1 oz. (2) 
Barium nitrate 12 0z., potassium 
chlorate 3 oz., sulphur (pure) 2 oz., 
shellac 1 oz., mercurious chloride 1 


PYROTECHNICS 


oz., fine charcoal 4 oz. (3) Barium 
nitrate 8 oz., potassium chlorate 3 
oz., sulphur (pure) 14 oz., shellac 
4 oz., realgar 4 oz., fine charcoal 4 
oz. The effect produced by any 
of these formulz depend on the 
absolute purity of the chemicals 
employed, and by their thorough 
incorporation. 

Candles: Blue candles should be 
made from 13 lb, blue or white 
demy. Each sheet should be cut 
into 32 pieces, when each piece 
will be about 4in. x Sin. Cut up 
touch-paper 4 in. x gin. Lay out 
a sheet of paper on a quire or so of 
brown paper, paste the edge which 
is 4 in. long, and which should be 
farthest away from the operator, 
and place a brass former , in. 
diameter about 1? in. away from 
the edge which is not pasted. 
Underneath the former place one 
of the pieces of touch-paper, so 
that about 2 in. is beyond the side 
of the paper, and 4 in. between 
the paper and the former. Lift 
up the nearest edge of the paper, 
bend it over the former, and 
then roll the paper and former up 
evenly and quickly till the pasted 
edge is reached, which should 
finish the tube. When the tube is 
dry, fill it with one of the composi- 
tions either on a nipple in the 
ordinary way [sce Squib], or rest 
the case on a table and spread the 
touch-paper out and fill from the 
other end with the funnel and 
rammer. When the case is filled 
to within about 4 in. of the end, 
make a small pellet of paper and 
press it down with the rammer ; 
then dub the end over with a chok- 
ing machine [see Squib], and dip an 
inch or so in the Dipping Compost- 
tion. Finally twist up the touch- 
paper to a point. Compositions 
for blue candle: (1) Prunella powder 
12 parts, sulphur 4 parts, regulus 
of antimony 3 parts. (2) Nitre 12 
parts, sulphur 4 parts, meal powder 
2 parts, 


183 


Crackers: 34 1b. royal hand-made 
paper is very suitable for the tubes, 
though any porous and unsized 
paper will do if it is not too tough. 
Cut each sheet into 6 pieces, each 
piece about 64 in. x 12in. Cuta 
length of No. 6 or 7 B.W.G. brass 
wire about 1 ft. 6 in. long for the 
former, and make the tube on the 
same principle asa pin wheel. [See 
Pin Wheels} If the paper be 
very porous, leave the paste to 
soak in for a minute or two before 
rolling the tube, and leave the tube 
12 hrs. to dry. When the tube is 
dry, lay it down on a flat surface, 
the joint uppermost, and fatten it 
by drawing a smooth paper-knife 
over it from one end to within an 
inch of the other end. Then bend 
up 1 in. of the flattened end ready 
for filling. Bunch a lot of tubes 
together, and tie a sheet of paper 
round the mouth ends. Sift over 
the ends FFF powder, and tap 
and jar the tubes till they are full. 
Each individual tube should be 
tested to make sure that the 
powder is continuous in the tube 
by passing the fingers and thumb 
down outside. Those that are 
imperfect should be set aside, and 
remade with the next batch. Pinch 
the mouth of each perfect tube 
between the thumb and finger, and 
shake out all loose powder; then 
twist the end over. The powder 
must now be spread out perfectly 
evenly in the tube. To accomplish 
this a machine like a small mangle 
may be made, the only real differ- 
ence being that the rollers shoule 
be able to be set a fixed distanch 
apart, not pressed together witd 
a spring as in a mangle. Two 
wooden rollers about 1 in. diameter 
should be fitted in a frame, and 
adjusted so that when the flattened 
tube is rolled between them they 
just spread out and cake the 
powder inside, but do not compress 
it. Another way, which does not 
give such a good result without 


184 


considerable practice, is to pass 
the paper-knife again over the pipe 
under pressure. The tubes must 
then be dampened as pin wheel 
ubes are [see Pin Wheels], and 
left in the damp calico 

for about an hour. A 

piece of # in. boxwood 

should be cut as shown 

in Fig. 5. The slot 

should be 2 in. deep x 

F3 lin. wide. This should 

be fixed to the table 
with the prongs projecting. Break 
up six knitting needles into 3 pieces 
each, so that 18 pieces of wire are 
formed. Take one of the dampened 
tubes and place one of the wires in 
the 3-in. bend already made. Then 
piace the tube on the bottom of the 
slot, and pull the tube, so that the 
wire is pulled up against the prongs. 
Then place another wire across 
the tube, but on the opposite side 
of the prongs, and bend the tube 
back over the second wire and 
between the prongs. Repeat this 
again and again till 14 zig-zags 
are made, when about 1} in. of 
tube should be over. Then press 
the cracker well down in the slot 
with a piece of 1 in. wood, so as 
to bend it to a permanent shape, 
and then remove all the wires. 
Cut off the last bend or leg of the 
cracker level with the others, but 
going to a point, like an inverted 
V, and tie on a piece of touch-paper 
immediately, which should be big 
enough to encircle it two or three 
times. The cracker is now ready 
for tying. First wind a piece of 
hemp three times round the length 
of the cracker, so that all the bends 


are held firmly, but not too tightly - 


together; then pass it between 
the first and second bends, tying 
at right angles to the lengthwise 
tie first made; then tie between 
the second and third bends; then 
between the third and fourth 
bends, and so on till ended. 
Dipping Composition: Make 2 lb, 


PYROTECHNICS 


glue in the ordinary way rather 
liquid, and then add 1 Ib. red lead 
gradually, and stir all the time, 
which should make a good smooth 
liquor. 

Japanese Matches: Mix 5 parts 
lampblack, 11 parts sulphur and 
28 parts meal powder in a mortar, 
and then add just enough weak 
gum water to make all to a stiff 

aste. When the composition is 
in this condition press it out, and 
divide it up into cubes about } in. 
each way. Place these cubes to 
dry thoroughly but slowly. To 
light, rip one of the cubes in a 
small piece of split bamboo or 
ficre, and hold the cube over a 
candle till it begins to burn; then 
withdraw it. 

Lightning Paper: Divide a piece 
cf strong thin unsized paper. into 
3 or 4 pieces of a suitable size. 
Mix in a flat dish 4 parts sulphuric 
acid and 5 parts concentrated 
nitric acid with a glass rod. Im- 
merse one of the sheets of paper 
in the acid for 10 mins., and then 
place it under a tap of running 
water till all the acid is removed; 
then wash in a weak solution of 
sodium carbonate, and rinse in 
clean water again. Dry carefully 
at a gentle heat. Treat the other 
sheets of paper in the same way. 
To colour steep each sheet for 
about 7 mins. in one of the follow- 
ing, and then hang up to dry: 
Copper chlorate (blue), strontium 
chlorate (crimson), barium chlorate 
(green), or potassium nitrate 
(violet). To light, roll one of these 
sheets of paper into a ball, light 
it, and throw it into the air 
immediately. It is not safe for 
the amateur to keep much of this 
paper ready-made in a pile. 

Paste: Mix 6 oz. flour and a 
teaspoonful of powdered alum 
together, and then add 2 pts. cold 
soft water gradually, and stir all 
the time, so that the mixture is 
made absolutely smooth. Then 


PYROTECHNICS 


boil at a gentle heat, stirring all 
the time, till a stiff paste is formed. 
If desired the paste may be thinned 
by the addition of warm soft water. 

Pin Wheels: Cut 17 lb. double- 
crown white paper in two down 
the fold, and then each half sheet 
into four, thus making eight pieces 
about 1 ft. 8 in. long. The former 
should be made from No. 6 or 7 
B.W.G. brass wire, about 2 ft. 4 
in. long. This former should be 
made slightly larger or bell- 
mouthed at one end. This may 
be accomplished by winding thread 
round it at that end, and increas- 
ing the number of lappings as the 
end is reached, and then giving all 
a coating of sealing-wax varnish. 
[See CEMENT (GLASS: Sealing-wax)] 
The paper should be pasted very 
lightly along one edge, and placed 
on a blotting-pad with the pasted 
edge upwards and farthest away 
from the operator. Place the 
former nearly half-way across the 
paper, and parallel to the pasted 
edge ; lift up the nearest edge, fold 
it over the former, and then, start- 
ing from the middle, run the fingers 
along the paper and tuck it well 
under the former. Just before 
the ends are reached, commence 
rolling with the thumbs, and with- 
out any stop or jerk continue 
rolling till the pasted edge secures 
and fastens all together. If the 
paper be at all creased, throw it 
away, and commence again with 
a fresh sheet. The tube or pipe 
will of course be larger in diameter 
at one end than the other, due to 
the former being bell-mouthed. 
The funnel should be made of 
brass with the spout tapering so 
as to fit tightly into $ in. of the 
bell-mouthed end of the pipe. The 
rammer is best made from No. 7 
or 8 B.W.G. steel wire about 2 ft. 
4 in. long, and it should be lightly 
notched across, so that it appears 
as though a coarse thread had 
been cut on it. The paper tube or 


185 


pipe should be nipped on to the 
funnel during the process of filling, 
either in a spring vice or by a 
rubber ring. If a very large pin 
wheel be desired, the tail of one 
tube can be fitted into the bell- 
mouth of another, and thus a tube 
nearly 3 ft. 6 in. long obtained. In 
this case the proportion of meal 
powder in the compositions given 
later should be increased 10 per 
cent. A pin wheel, however, made 
from one pipe is usually considered 
the most satisfactory. To fill, turn 
over 4 in. of the small end, fit on 
the funnel, pass the rammer down 
to the bottom of the pipe, half-fill 
the funnel with composition, and 
fill the pipe by lifting the rammer 
and giving short, quick and light 
blows. Ifthe rammer be lifted too 
high, the pipe will very likely 
become choked. Continue the 
filling till the end of the funnel 
spout is reached. This can be 
felt by pressing the pipe lightly 
between the thumb and fingers 
whilst the rammer is being moved. 
Then remove the funnel and twist 
up the bell-mouthed end. The 
rammer should be left in the funnel 
ready to fill the next tube. Dip 
coarse calico into water ; wring it 
out as dry as possible, and wrap 
up each filled wheel pipe in it, so 
that each pipe is entirely sur- 
rounded with damp cloth, and leave 
for about an hour in a cool place. 
Then take out a pipe and roll the 
bottom 2 in. between the thumb 
and fingers, and then press it out 
tapering to a wedge with a paper- 
knife. Place a wooden disc about 
1 to 14 in. diameter on a tile or 
piece of glass for a centre, and 
commence wrapping the tube 


-round it in a spiral, commencing 


with the wedge-shaped end, and 
ending with the bell-mouthed end. 
When the end is reached, fix it 
down with sealing-wax, and then 
paste two bands of paper across 
the wheel at right angles to each 


186 


other to fix all the convolutions 
in place. Compositions for pin 
wheels: (1) Meal powder 4 parts, 
nitre 2 parts, sulphur 1 part. (2) 
Meal powder 4 parts, nitre 2 parts, 
sulphur 2 parts. 

Quick Match : Dissolve 4 oz. gum- 
arabic in 7 oz. water, and then add 
meal powder till as apaste. Hang 
up lengths of lamp cotton, take 
the paste in the palm of the hand, 
and draw the cotton through slowly 
and under slight pressure. The 
cotton should be kept as round as 
possible. Leave the cotton hang- 
ing up till perfectly dry, and then 
cut it up into suitable lengths. 

Serpent’s Eggs: Mix 10 parts, 
powdered yellow  prussiate of 
potash, 10 part flowers of sulphur, 
and 1 part potassium carbonate, 
and fill a black-lead crucible three 
parts full. Place the crucible over 
a very hot coke or blacksmith’s 
fire, and cover it with a piece of 
fire-brick. When the mixture is 
melted, stir it with a piece of iron 
wire, and then pour it out on to 
an iron plate. When cold break 
it up into small pieces, and make 
a saturated solution of it in water. 
Make a saturated solution of mer- 
curic nitrate in water, and then 
add a little sulpho-cyanide solution 
gradually. This will make a dense 
precipitate, and it should then be 
left to settle. Then add a little 
more sulpho-cyanide solution, and 
allow the precipitate to settle again, 
and so on till no more precipitate 
is formed. Filter, and then dry 
the precipitate in a water bath till 
as a paste, which should then be 
formed into small balls about as 
big asapea. It should be remem- 
bered that both these solutions are 
very poisonous, the fumes given 
off during combustion being also 
poisonous, 

Squib: Divide 70 lb. imperial 
brown paper (293 in. x 222 in.) 
into 15 parts, each part being 74 
x 6in. Divide 16 lb. demy white 


PYROTECHNICS 


into 16 pieces. One piece of white 
and one piece of brown paper will 
be required for each squib. If a 
quantity is to be made, take about 
30 sheets of white paper and lay 
them down evenly one on the top 
of the other. Rub gently in the 
centre of them with the knuckle 
of the first finger, when each sheet 
will slightly slide on the sheet be- 
low it. The sheets must be kept 
even sideways by taking them up 
and levelling the edges on the 
board, and then again rubbing 
with the knuckle till the sheets are 
a suitable distance apart length- 
ways. To paste, begin at the 
bottom and draw the brush up- 
wards over the edges, so that each 
sheet will havea narrowstrip pasted 
along one edge. Make a former of 
brass wire + in. diameter x 1 ft. 
long. Lay one of the brown strips 
of paper down on a blotting-pad 
with one of the edges 6 in. long 
nearest to the operator. Place 
the former:on the top and square 
across the strip about 2 in. from 
the edge. Lift up the edge 
nearest to the operator, and bend 
it over the former; press it well 
under the former on the farther 
side with the tips of the fingers and 
roll. When about 23 in. of the 
brown paper is left unrolled, slip 
in one of the white sheets of paper 
into the crack, the pasted side up- 
wards and away from the partly 
formed tube, and then continue 
the rolling. When the pasted edge 
is reached, it will stick on to the 
tube and fix all. The white paper 
will not extend to one end of the 
tube, for this part is left for dubbing 
in. Leave the cases to dry for a 
day or so, and they will then be 
ready for choking. To do this a 
choking machine, described earlier 
and illustrated in Fig. 1, should be 
used. Insert a piece of wire 4 in. — 
diameter in the end of the case 
which is covered with white paper. 
Place this end in the groove in the 


RABBIT 


lower jaw of the choking machine, 
and bring down the upper jaw. 
Continue chopping and turning 
round the case a little between 
each chop, till the case is contracted 
or choked to 4 in. internal diameter ; 
then remove the piece of wire. Tie 
the choked end with thread making 
a clove hitch. [See KNoT (CLOVE 
Hitcu)] Make a nipple (Fig. 4) of 
brass wire 4 in. diameter, and file 
it down so that only 4 in. projects 
beyond the base. Fit the choked 
end of the case over the nipple, and 
insert a funnel into the other end. 
The spout of the funnel should be 
tapered so that only about 4 in. 
enters, but this should be enough 
to hold it firmly there. A brass 
rammer 1 ft. long x 4 in. diameter 
must be made as described before, 
and illustrated in Figs. 2 and 3. 
The rammer should be inserted 
through the spout till the bottom 
rests on the nipple, and the funnel 
should then be three-quarters filled 
with one of the following composi- 
tions: (1) Meal powder 10 parts, 
wood charcoal 2 parts, sulphur 2 
parts, nitre3parts. (2) Meal powder 
16 parts, wood charcoal 3 parts, 
sulphur 4 parts, nitre 6 parts. 
Pass all the ingredients separately 
through a 30 or 40 mesh sieve and 
then mix together, and pass them 
all through a 20 mesh sieve three 
or four times. The funnel being 
partly filled, lift up the rammer, 
and give numerous short and sharp 
jerky blows till the case is three- 
quarters full, Then remove the 
rammer and funnel, invert the squib 
over the loose powder, and tap it 
lightly to remove all loose powder 
from the surface of the unfilled por- 
tion of thetube. Repeat the filling 
on as many cases as required, and 
then bunch them together, the 
choked ends lowest, and sift “F” 
or treble strong gunpowder over 
them till they are filled level with 
the white paper. Make asmall pellet 
of soft paper for each squib, and 


HUTCH 187 


press it down on the top of the pow- 
der. Then place the end in the 
choking machine, and dub over the 
brown paper end till the case is 
completely closed. Mix 6 parts 
meal powder, 2 parts nitre and 1 
part sulphur, and then add water 
till as a very stiff paste. Press 
the choked end of each squib in 
this paste, and then twist a piece 
of touch-paper round the mouth, 
tie it in position with a clove hitch, 
and screw the end up to a point. 
Finally dip the dubbed-in end in 
dipping composition. [See Dipping 
Composition] 

Star Lights : These fireworks are 
made precisely as blue candles [see 
Candles], the only difference being 
in the composition. Composition: 
40 parts nitre, 7 parts lampblack 
and 12 parts sulphur. Mix these 
ingredients together fairly inti- 
mately, fill a sample light, and light 
it to see the effect. Ifa great deal 
of smoke is produced, and only a 
few sparks, the mixing is not com- 
plete. If, however, the mixture 
burn very fiercely, the ingredients 
have been over-mixed. The correct 
amount of mixing should produce 
numerous and large starry sparks 
with very little smoke. 

Touch-paper. Dissolve 1 oz. nitre 
in about 8 fluid oz. water. Lay 
out a sheet of 14 Ib. blue double- 
crown paper, and paint one side of 
it with the nitre solution, applying 
it with a brush. Lift up the paper, 
hang it up to dry, and then cut it 
up into convenient sizes. 

RABBIT HUTCH. Make the 
hutch 3 ft. long x 1 ft. 6 in. wide 
x 1 ft. 3 in. high. There should 
be a partition for a bed-place 1 ft. 
from one end, leaving a run 2 ft. 
long from the partition to the other 
end. Make the sides, top and floor 
of #in. deal; the back and partition 
of 4 in. deal. Make the large door 
frame of 1 in. deal, 14 in. wide. It 
is best to make a mortise and tenon 
joint at the corners, but they will 


188 


hold if mitred and screwed. Place 
galvanised iron wires 4 in. apart, 
boring the holes with a gimlet in 
the large door, as shown in the 
illustration; or galvanised wire 
netting may be fixed on the inside 
with staples. Now hang the door 
on hinges, and place a hook on the 
other end to hold it closed. Cut 


the divisional piece between th 
two doors from 1-in. deal, 2 in. 
wide, and let it into the top and 
floor so that it lies flush. Make the 
small door to the bed-place of 1 in. 


= 


deal. Fit it into the opening, and 
then hang on its hinges. Fix a 
hook on to the other end, with the 
eye on the divisional piece between 
the two doors. 

RACK: CATTLE FEEDING. 
Make from 2-in. boards about 4 to 
5 ft. wide x 10 to 12 ft. long 2 x ft. 
deep. Place 4 in. x 4 in. scant- 
lings at the corners, and in the 
centre of the ends, running up 12 
to 15 in. above the top of the rack. 
To the middle scantlings nail on 
a centre partition lengthways, so 
that the food may be piled, and 
the cattle can feed from both sides. 
lf the end boards do not reach 
down to the bottom, and the sides 
are curved at the ends like sled 
runners, the racks may be easily 
shifted. If boards be not obtain- 
able, make the rack of rough poles. 
Cut the corner and centre posts 3 
ft. long, and pin three horizontal 
rails on to each side. 1 ft. from 
the ground nail cross-pieces or 


RACK 


cleats across the end posts, and 
then pin on horizontal poles for 
the bottom. [See also Rack (SHEEP: 
Cross Slat)] 

RACK: SHEEP. Cross Slat: 
Hang a pole in two forks, and 
drive sticks crosswise into the 


ground, as shown in the illustra- 
tion. This rack is most suitable 
in dry or frosty weather. 

Flaring : Cut a board from a 2-in. 


deal plank 8 in. wide by about 12 ft. 


long. Drill holes with a 1-in. bit 
24 in apart, about 2 in. from the 
sides and ends. Drill the holes 
along the sides, so that when 1-in. 
sticks, which are 18 in. long, ara 
driven in, they will be 2 ft. apart 
from side to side at the top. Fit 
light scantling all round the top by 
boring holes corresponding to thosq 
in the bottom piece, mitre the 
corners, and screw on a triangular 
piece at each corner to strengthen. 
Put pieces of l-in. board across the 
middle and ends for supports. Set 
the rack upon five legs, one at each 
corner and one in the middle. 
Across the bottom of the legs nail 
boards long enough to prevent the 
rack upsetting. 

Portable: Saw two boards 12 ft. 
long x 12 in. wide ; two boards 12 
ft. long x 6 in. wide; two boards 2 
ft. 6 in. long x 6 in. wide; two 
boards 2 ft. 6 in. long x 12 in. wide ; 
six posts 2 ft. 6 in. long x 3 in. x 
3in. Set four posts for the corners 
and two in the middle. Nail the 
two 12-in. boards to the posts 2 in. . 
from the bottom; 10 in. above 
these nail the two boards 6 in. 

wide. The 10 in. gap is for the 


RART—RAZOR 


sheep to put their heads through. 
Board the ends up with the four 
boards 2 ft. 6 in. long in the same 
way as the sides; and if it be 
desired to have a bottom to the 
rack, nail cleats across the end 
and middle posts about 3 in. from 
the bottom, and fit a long plank to 
rest on them. Drop boards, hung 
on leather hinges, may be fitted on 
the outside, covering the 10 in. gap. 


These boards usually are held back | 


by straps, but when it is desired to 
stop the sheep feeding, they may 
be dropped. 

Shed: Drive in stakes 20 in. from 
the sill inside, and 6 ft. apart. 
Nail on boards about 1 ft. wide at 
the bottom, and others narrower 
8 or 10 in. above these. Uprights 
may be nailed up and down once 
in 10 in. if desired, so that each 
sheep may have a stall. Cut 
away the weather or match- 
boarding “from the sill outside 
18 or 20 in., starting 18 or 20 in. 
above the ground. Nail a girth on 
the inside just before the opening 
to stay the siding. Hang drop 
boards all round the outside on 
leather straps, which may be 
opened or closed, as in the port- 
able rack. In warm weather the 
drop boards should be left open 
for ventilation. 

RAFT. (1) The smallest ser- 
viceable raft should be constructed 
on two logs each 10 ft. long by about 
12 in. diameter. Sharpen the ends 
of the logs, and then nail on cross 
pieces about once in 12 in., keep- 
ing the logs 4 ft. apart. The floor 
may now be laid on of old light 
boards. (2) Select four thoroughly 
watertight casks; bung them up, 
and build the framework on them, 
placing one barrel at each corner. 
It is best to bind the barrels on, so 
that a sudden jar does not break 
them off. 

RAKE: GARDEN. For the 
head use a piece of 1} in. square 
ash, 2ft.long. Bore a # in. hole in 


189 


the centre for the handle, and bore 
suitable sized holes every 2 in. to 
drive twelve penny nails flatwise 
with the grain. When driving in 
the nails the head should be held 
in a vice, and the nails should be a 
good driving fit. To brace, drive a 
#-in. screw into each end of the 
head half-way in, and another in 
the handle 10 in. up from the head. 
Twist a piece of wire tightly round 
the screw in one end of the head, 
then round the screw in the handle, 
and lastly round the screw in the 
other end of the head. Draw tight 
and fasten by winding. | Wood 
braces may be screwed on, but this 
makes the rake heavier to work 
with. 

RAKE: MANURE, (1) Make tha 
head of a piece of hard wood, 4 in.. 
thick x 15 to 18 in. deep. Seta 
pole into the centre of the broad 
side, and brace it firmly in position. 
Bolt an old mill saw plate on to 
the front side of the head, so that 
it sets flush or a little below the 
bottom edge. If the manure be 
hard, weights must be put on the 
top edge ofthe head. This spreader, 
when hitched on to a horse and 
heavily weighted, will also level a 
meadow, shearing off the lumps and 
filling up the hollows. (2) A very 
stiff and heavy broom may be made 
after the pattern of an extremely 
heavy hay rake. The holes in 
the head should be plugged with 
bristles instead of wooden teeth, 
and they should be stiff enough 
to allow a man to stand on the 
back of the head without crushing 
them. The broom should then 
be weighted and drawn over the 
meadow. 

RAZOR: TO SHARPEN. Use 
the best Turkish stone and lubricate 
with glycerine and alcohol. The 
back of the razor should touch the 
hone as well as the edge. Do not 
press hard, and give a circular 
motion tothe razor. [See also OIL. 
STONE] 


190 


RAZOR: HOW TO STROP. 
The strop should not be of very soft 
leather. Prepared canvas is good, 
if the razor be stropped a 
little on leather afterwards. The 
razor Should be drawn from heel 
to point, and turned over on its 
back at the end of each stroke, to 
commence the next. If the razor 
be stropped too much the edge is 
dulled. To renew the sharpening 
qualities of the strop: (1) Rub it 
over lightly with clean tallow, and 
then put on the top candle snuffings 
or burnt cotton. (2) Rub the leather 
well with pewter, till the strop 
becomes black. 

RAZOR STROP: TO CLEAN, 
Rub the strop with a dilute solution 
of ammonia water till it is clean. 

REAMER, Grind the heel of an 
old triangular file to fit the bit stock, 
or fit it firmly into a handle; then 
grind all the three faces smooth. 
The end fitted into the handle or 


RAZOR—ROCK BOAT 


RESIN: HOW TO SOFTEN. 
Melt the resin, and add tar till of the 
required consistency. By pouring 
a little of the melted mass in cold 
water the hardness of the mass 
when cold can be ascertained. 

RIBBONS : HOW TO WASH. 
(1) Boil an old kid glove, which is as 
near as possible the colour of the 
ribbon, in water for a short time, 
and when the water is cool enough, 
take the glove out, and use it asa 
sponge on the ribbon, applying the 
water it has been boiled in. Ifthe 
ribbon be very dirty, dip it into this 
weak dye, and draw it through the 
fingers a few times. (2) If the 
ribbons be dingy and greasy, rub 
the yolk of an egg or French chalk 
on them upon the wrong side, and 
let it dry; then lay the ribbons 
out on a cloth, and wash on both 
sides witha sponge, and press upon 
the wrong side. If they be very 
much soiled, use bran water; and 


4 

stock should be softened [see AN- 
NEALING (Iron and Steel)], but the 
cutting edges should be left the 
same temper as the file was. 

RELAX INSECTS: HOW TO. 
Half fill a basin with wet sand, and 
saturate it with water. Press 
bottle corks half-way down into the 
wet sand, and pin the insects on 
to them; then cover over with a 
tumbler or finger-glass. Leave for 
two to five days till relaxed, and 
then set the insects in the ordinary 
way. After being set for a week or 
so, remove the insects from the 
board, and place a drop of shellac 
varnish at the junction of each wing 
and the thorax on the under side; 
then set again on a board with a 
wide groove down the middle so 
that the varnish does not touch the 
board, and leave till the varnish has 
become hard. 


add to the rinsing water muriate of 
tin, to set red; oil of vitriol; to set 
green, blue, maroon and bright 
yellow. (3) For larger silk ribbons 
and cravats, rub the dust from the 
surface, and apply a mixture of 
equal quantities of strong tea and 
vinegar! freely with a flannel; 
smooth out the silk, and iron. If 
the creases be very bad, dip the 
ribbons in naphtha or gasoline, and 
hang them up to dry; then lay a 
piece of paper over them, and iron 
them with an iron just hotter than 
can be touched with the naked hand. 
To starch ribbons: (1) Dissolve a 
lump of gum-arabic the size of a 
filbert in 4 pt. water. (2) Dissolve 
two lumps sugar in a teacupful of 
water. . 
ROCK BOAT. Cut two logs 8 
ft. long, having a bend or crook in 
them of about 20 degs., making 6 


ROCK—ROLLER 


ft. body and 2 ft. crook. Select for 
preference oak or similar hard 
wood. Place these logs side by 
side, with the crooks in the air, 
about 2 ft. Gin. to3 ft. apart. Pin 
them together with cross pieces, 
using hard wood pins. Drive staples 
into the logs, or fit an iron rod 
through two mortise holes made 
in the logs, to attach the drawing 
chain to. 

ROCK: HOW TO BURST. 
(1) The usual way is to crack the 
boulder by heat and then remove 
the pieces. If the rock be bedded 
in the ground, remove the dirt about 
the sides, and make a fire all round 
the base. Ifthe rock flakes away 
at first on the top, the pieces should 
be removed as they crack off. (2) 
Drill a vertical hole down the centre 
of the rock. Pour in moiten lead 
till about half full. Fit a steel 
mandril to the hole, so that it will 
rest firmly on the lead, and a 
portion of it project beyond the hole. 
Hit the mandril heavy blows with 
a sledge till the rock breaks. [See 
also BLAST BOULDERS (How TOo)] 

ROCK: HOW TO BURY. Most 
boulders can be removed by digging 
pits on one side large enough for 
the rock to be buried in. The rock 
should be covered with at least 1 
ft. earth. Care should be taken to 
dig the pit large and deep enough, 
a second trial being rarely possible. 

ROCKERY. Select aspot which 
is shaded bya tree at noon. Mark 
off a circle about 3 ft. diameter. 
Place a large rock in the centre, 
and space pillar-shaped rocks 
equally round the circumference. 
Throw a wheel-barrowful of soil 
into the circle, and press it well 
down between the rocks, making 
the pillars incline slightly inwards. 
Place long narrow rocks from the 
top of the pillars to the centre rock, 
and from pillar to pillar, then fill 
up with soil and make another 
storey, only smaller, and so on till 
about 5 ft. high. It is convenient 


191 


to plant the mosses, stone-crops, 
flowers, etc., during the construc- 
tion. The top may be left flat to 
stand a pot of flowers on. The 
rockery may be made of common 


lime stone, mussel shells, old 
bottles, etc. 
ROLLER: LOG. Sawoffa log 


about 2 to 24 ft. diameter x 3 ft. 
6 in. long, and bore a 24 in. hole 
through the centre. Cut two 
wooden blocks 4 in. thick x 5 in. 
wide x 10 to 12 in. long; let them 
into the log 24 in., so that they may 
project 14 in.; bore holes in these 
the size of the rod used for the 
roller to turn on, say 14 in. diameter, 
and corresponding with the centre 
of the hole bored through the log. 
Dress off the projecting part of the 
blocks with the exception of 5 in, 
in the middle, sothat a square boss 
5 in. x 5in. projects 14 in. from the 


centre at each end. Fasten them 
firmly down with screws. Run a 
14 in. iron rod through the log, 
and support each projecting end of 
the rod on V blocks. Turn the log 
round, and resting a pencil near 
the edge describe a circle on the 
end. Describe a circle on the other 
end in the same way and of the 
same diameter. Trim off the wood 
with an adze till as cylindrical as 
possible, and finish with a plane, 
With the use of a straight-edge 
and by holding a pencil near the 
face, so that any part slightly 
higher than the rest will be marked 


192 


when the log is rotated, a perfect 
cylinder may be made. Withdraw 
the rod, bore out the 14-in. holes to 
12-in., and drive a 4-in. length of 
14-in. gas barrel in each end for a 
bearing; a }-in. hole may be bored 
through the boss and through the 
barrel on each end for oil holes. 
The bar should work easily in the 
gas barrel. Make another roller 
exactly the same. Make the frame 
of 4 in. x 4 in. wood to suit the 
size of the rollers. The 14-in. iron 
spindle should be rigidly attached 
to the side pieces by clips made 
from ;°,; in. plate. 

ROLLER: PLANK. Cut off 
sixteen boards from 2-in. deal 
20 in. broad x 3 ft. 4 in. long. 
Place two boards side by side on 
the top of two boards, which are 
also side by side, but lying at right 
angles to the top two boards; and 
spike all four boards together. A 
solid block will then be formed 3 
ft.4 in. x 3 ft. 4 in. x 4 in. thick. 
Make three more of these with the 
twelve remaining boards. Strikea 
circle 3 ft. 4 in. diameter on each of 
these blocks, and saw and shape 
up to the line. Bore a 13-in. hole 
through the centre of each, and 
drive in 14 in. gas barrel into two 
of them. [See ROLLER (LOG)] 
Place them 1 ft. apart, the two out- 
side ones being those with the gas 
barrel in, so that there is 4 ft. 4 in. 
between the outside faces of the 
two outside circular blocks. Now 
cover with 24 in. x 3 in. staves 
4 ft. long, nailing them horizontally 
on to each block, and bevelling the 
edges, so that they fit well all over, 
The outside should be planed to take 
the ridges off. Run a 14-in. iron 
rod, 5 ft. 4 in. long, through the 
centre, place 2 in. loose wooden 
washers on to each projecting end 
of the rod, so that the roller cannot 
rub against the frame. Make the 
frame from 4 in. x 4 in. wood, as 
shown in the _ illustration for 
ROLLER (L0G). 


ROLLER—ROORING 


ROLLER : SUBSTITUTE FOR 
FIELD. Cut five planks from 


2-in. oak, or some other hard wood, 
12 in. wide x 8 ft. long, and lay 
them flat with the edges just over- 
lapping. Cut two batons from 4 in. 
x 4in. oak, and bolt firmly to the 


chain through the batons on each 
side about the second plank. It 
should be drawn across the field 
square, not diagonally, and may 
be weighted with stones, as de- 
sired. 

ROOFING: FELT. The roof 
should have a slope of not mora 
than 1 in 14, and not less than 
1 in 5. Use felt weighing about 
6 to 7 oz. per sq. ft., and about 5; 
in. thick. Lap the joints 2 in., and 
hold in place with | in. clout nails, 
weighing 2} lb. per 1,000, at 2 in. 
pitch. Dip the nails in oil [see 
NaiL RustTiInG (TO PREVENT)], 
before driving them in; or better 
still, use copper nails. Boil 5 lb. 
whiting in 1 gal. hot tar, and apply 
it hot to the boards and felt before 
nailing it in place. Mix 6 lb. dry 
powdered chalk or dead lime in 2 
gals. coal tar, and apply two coats to 
the felt while it is hot ; then sprinkle 
sand over immediately. The tar- 
ring should be renewed at least 
every other year. Canvas dressed 
with Stockholm tar and pitch is 
quite as durable as felt. 

ROOFING: SHINGLE. The 
best material is white pine of large 
growth, then oak, ash, cedar and 
chestnut. The timber should be 
fine grained and well seasoned. 
Saw the trunk square across in 
lengths of about 16 in., and place 
them top downwards to season. 
Place the block upon the butt end, 
and mark off with chalk on the top 
end, as shown in Fig. 2. Remove 
all bark, and then split up the log 


ROOPRING 


with a frow and mallet into eight 
sections, Sub-divide these into 
smaller sections about 14 in. thick, 
and remove the heart as marked off 
in Fig. 1. On the top of a log cuta 


Fia. 2, 


slot right across about 14 in. thick 
x 3 in. deep. Fit the section in 
this slot and then split the section 
into four pieces, each piece being 
about gin. thick, and each piece 
forming a shingle. Start the frow 
with a blow from a mallet, and then 
split off the shingle with hand pres- 
sure only. When pressing upon the 
frow handle, watch the separating 
fibre; if the split be running to one 
side, invert the piece, and the 
course of the split will be changed 
when pressure is applied to the 
frow handle again. Ifthe shingles 
are to be stored they should be 
bunched as shown in Fig. 3. The 


Fia. 1. 


» frow may be cheaply made from a 
piece of an old wheel tire. It 
should be bent round to form the 
hole for the shaft to be fixed in, and 
the two thicknesses in the blade 
welded together. The 
frow should then be 
filed up and sharp- 
ened and case-hard- 
ened. The mallet 
may be made froma 
section of a small 
tree. It should be 
well seasoned, and made of tough, 
dry wood. Each shingle should 


193 


be nailed on with two copper 
nails, or preferably oak pins. Lay 
them overlapping, so that about 
44 in. are exposed to the weather. 
(1) Paint the shingles on both 
sides with best paint before nailing 
them on. As each course is 
nailed on, give a good second coat 
on the top, and when all is dry 
give a third coat. The painting 
should be repeated at least once 
every seven years. (2) Dip the 
shingles in a boiling mixture of gas 
tar and resin. When all the shingles 
are nailed on the roof, give another 
good coating of the tar. The roof 
should be repainted with the pitch 
once every four or five years. (3) 
Dress the shingles in thin white- 
wash made with brine instead of 
pure water. As each course is laid 
apply another coat, and a third coat 
when the roof is complete. (4) 
Warm 1 barrel lye of wood ashes, 
5 lb. white vitriol, 5 lb. alum, and 
as much salt as can be dissolved 
in a large tub. Immerse the 
shingles, and stir them up with a 
fork. Leave them to dry, and then 
lay the shingles as usual. 

ROOFING: TAR, (1) Melt 4 
parts tar in an iron pot over a slow 
fire, and then sift in 1 part air-slaked 
lime and 1 part hydraulic cement. 
Thoroughly mix, and apply while 
warm. Apply a second coat when 
the first is dry, and then sift on sand 
immediately. (2) If the roof be 
nearly flat, first cover the boards 
with roofing paper and road dust, 
then pour raw coal tar upon sec- 
tions of the roof, spreading it evenly 
tothe depth of fin. After six weeks 
repeat the process, and then a third 
time six weeks later. 

ROOFING: THATCH, Clean 
wheat or rye straw should be used, 
which has not passed through a 
threshing machine; barley and oat 
straw is not so good. The straw 
will weigh about 7 cwt. per 100 sq. 
ft. of roof if laid on 9 in. thick. In 
fenny districts flags and rushes may 


13 


194 


be substituted for straw. The rushes 
should be cut in the autumn, dried 
in the sun, and stacked. Heath, 
furze, etc., may be used as a finish- 
ing. coat only to the straw. The 
rafters may be pitched 18 to 24 in. 
apart, the size varying with the 
size of the roof and the distance be- 
tween supports, but it must be 
remembered that thatch weighs 
far more when old and wet, the 
rafters also getting weaker. Use 
scantlings about 2in. x 4in. Make 
the laths from fir or larch about 14 
in. diameter, and shave them down 
parallel with a spoke-shave. Use 
light copper wire for best, well- 
tarred hemp twine for cheaper 
work. Hazel pegs may be driven 
through the thatch catching on to 


longitudinal laths, called runners, 
and bound in place; this keeps the 
thatch in place during a high wind. 
The straw should be thoroughly 
dampened before being used; then 
pack it into split hazel rods at the 
butt 6 to 9 in. from the end. A 
second tie should be made 6 in. 
below the first, and the split ends of 
the rods secured with wire. Long 
steel eyeletted blades are used for 
needles. Comb the thatch with 
an ordinary hay-making rake as 
the work proceeds. Then trim 
each course with a pair of shears. 
These bundles are fixed in place 
with forks driven down through the 
thatch, and secured by an assistant 
on the inside. The thatch should 
be combed again before the runners 
are fixed on. The eaves should 


ROOT CUTTER—RUG 


project 18 in. to 2 ft. from the wall 
face, and should be trimmed at 
right angles to the vertical. When 
the thatch butts against chimneys, 
or any excrescence, it should be 
laid on much thicker, and a heavy 
oversailing course of slate or bricks, 
which project at least 3 in. from the 
chimney, laid over. 

ROOT CUTTER. Makea three- 
sided box from 1}-in. deal, 12 to 15 
in. each way. Saw one end square, 
and tothatend attach a knife, which 
may be made from a piece of an old 
scythe, by drilling a hole in one end 
and pivoting it on a screw driven 


into the wood; the cutting edge 
should be long enough to cross the 
box, and be hung even with the top 
edge of the bottom board. Attach 
a handle to the other end of the 
knife, and let it work up and down 
in a wooden or iron guide. 

RUBBER JOINTS: CHALK 
FOR. When making rubber or 
insertion joints, always powder a 
little chalk over the rubber. The 
rubber can then be separated after- 
wards, and does not stick to the 
metal. 

RUG: CHENILLE. Cutscraps 
of coloured woollens, silks and 
cottons into small squares much 
the same size; thread them on 
strong twine, and then with shears 
trim off so as to make the roll as 
round as possible. Take a piece of 
heavy carpeting for a centre, and 
sew on the edge a strip of the 
chenille; then on that another 
strip, and so on, just as braided 
mats are made. 5 

RUG: CLOTH. Cut pieces of 
cloth 4 in. square; double once 
diagonally, and gather to form a 
leaf. Sew on hemp carpet or stiff 


/ 


RUG—SAND-PAPER 


canvas. Begin at the edge and 
sew all round, concealing the raw 
edges in the centre with a small 
cross or diamond of tufted yarn or 
wool. 

RUG: SCRAP. Draw a design 
in the centre, and a border round 
the edge of a piece of hemp sacking 
or canvas, which is to be the 
foundation for the rug. .Sew the 
canvas tightly into a frame; make 
a hook like a crochet needle from 
a piece of wire, and file the end 
into the required shape. Cut the 
scraps of cloth in breadths of about 
4 in., or broader if the fabric be 
fine. Pass the hook down through 
the tightly-stretched canvas, insert 
a loop of fabric on the hook, and 
then draw the hook back again, 
thus bringing the fabric through the 
canvas, and let it project about ? 
in.; leave about three threads space, 
and then hook another piece of 
fabric through from the other side, 
and so on, using the different 
coloured fabrics to shade the 
design. Work the designs first, 
and then draw in the background 
of some _ dark-coloured fabric. 
When complete, shear off the 
whole surface evenly, but not too 
close. 

RUG: WOVEN. Cut strips of 
cloth the required length of the 
mat and 1 in. wide. Lay them 
side by side and touching on a 
smooth board, and nail the ends 
down. Take some more strips, 
and weave them in, one at a time, 
until the whole forms a smooth, 
close web. Fasten all in place by 
sewing round the edges with strong 
thread. Remove the tacks, trim 
off, and sew on a fringed or pinked 
border. [See also CARPETS (RaG)] 

RUST: TO PREVENT. Smear 
all over with one of the following: 
(1) For light work (a) Vaseline, 
thick salad or sperm oil. (b) A 
mixture of 1 part fat oil varnish 
and 4 parts turpentine. (c) A 
mixture of 1 part beeswax and 2 


195 


parts benzine. (d) A mixture of 1 
part beeswax and 1 part paraffin. 
(2) For medium work, apply a 
mixture of mutton tallow (free 
from salt) and white lead, while 
hot. (8) for heavy work, apply a 
mixture of 5 parts tallow and 1 
part rotten stone. (4) To prevent 
nails and screws from rusting sce 
Nall RustTiInG (To PREVENT). 

RUST: TO REMOVE. (1) If 
the surface has no sharp corners, 
polish all over with fine emery and 
sperm oil. (2) Immerse the article 
in kerosene oil for a short time, 
and then polish with cork. (3) In 
cases where the iron contains 
hollows difficult of access, it may 
be coupled electrically with a rod 
of zinc, and immersed in a weak 
solution of acid. In a few hours 
the iron will be clean; it should 
then be rinsed in pure water, and 
dried in boxwood sawdust. (4) 
When iron exposed to heat has 
rusted, apply a mixture of tripoli 
with half its weight of sulphur well 
ground together ona piece of soft 
leather. (5) For table-knives, etc., 
cover with sweet oil, and leave for 
24 hrs. Then polish with leather 
and emery powder, powdered 
pumice-stone or pulverised un- 
slaked lime. (6) For very heavy 
articles, brush them over with a 
dilute solution of sulphuric acid, 
and leave it on till it evaporates. 
Then wash, and where the worst 
places are, polish with rotten stone 
and then with emery powder. 
Thoroughly scour with warm 
water and then dry. (7) Immerse 
the article in a solution of 4 oz. 
potassium cyanide in a wineglass- 
ful of water. Then take it out, and 
brush it with paste made of potas- 
sium cyanide, Castile soap, whiting 
and water. 


SAND-PAPER. Rub thé 
finger over the surface to see if 
the sand, glass or emery be well 
secured. Tear the paper to test 


196 


the strength, which should be | 
tough, not brittle. 


SAW: GUIDE FOR. Innearly 


SAW 


and the ends square. Temper one 


all cases it is best to draw lines Gy 


with a square to saw to, not 
judging by the eye. To saw rough 
iogs, etc., rip a hoop off a barrel of 
suitable size, remove the bark from 
the log, pin the hoop round the 
log, and then saw down the side of 
the hoop. 

SAW HANDLE. For a cross- 
cut saw, work out the handle like 
an inverted V. Rivet one side of 
the handle to the saw perpendicu- 
larly, and let the other side of the 
handle project at the required 
angle. 

SAW: KINKED. Ifahand-saw 
has become kinked or warped, it 
should be rolled between heavy 
rollers to straighten it. In most 
cases, however, it may be straight- 
ened by laying the blade of the 
saw flat on an anvil or chipping 
block and striking a series of blows 
down the centre of the blade witha 
round-faced or engineer’s hammer. 
Repeat the blows till the kink is 
taken out, always beginning at one 
end and working down to the 
other. 

SAW: TO SELECT. Pass the 
blade between the thumb and fore- 
finger, or lay the blade on a flat 
surface and pass the palm of the 
hand quickly over it, to feel if the 
blade be of uniform thickness. By 
this means the slightest unevenness 
can be detected. Hold the handle 
so that the side of the blade is 
upwards, and give it a sharp side- 
swinging motion. The motion 
should be light, even and quick, 
not uneven or dull. The blade 
should be of the colour of clear air 
seen at a distance. A glass colour 
is too hard, a lead colour too soft. 

SAW SET. Break a piece out 
of the middle of an old triangular 
file about 4 in. long. Soften it [see 
ANNEALING (Iron and Steel)], and 
then file the rough off the edges | 


end yellow, keeping the other end 


soft. [See TEMPERING] 

SAW : HOW TO SET AND 
FILE. Circular: Put the saw in 
motion, and hold a dead smooth 
flat file against the teeth, until 
they are all of equal length. Next 
hold a pen at the base of the 
deepest tooth; and, as the wheel 
revolves, a circle will be drawn 
upon the saw-plate. Remove the 
saw, screw it between two circular 
boards in a vice, and file down to 
the guide line, keeping the angle 
of the teeth the same as they were 
when new. Great care should be 
exercised when filing or marking 
the saw while it is revolving, as 
numerous accidents take place 
from carelessness. 

Cross-cut: To joint, dress out 
two 3-in. curved boards as long as 
the cutting edge of the saw, so ~ 
that they conform to the curve of 
this edge, i.¢e., the general rounding 
plane of the teeth. Place the saw 
between these two boards, so that 
the points of the shortest teeth are 
barely even with the boards. Hold 
the boards in place with clamps, 
or four small bolts passing between 
the teeth. Now with a smooth file 
work off all the points of the teeth 
even with the shortest ones, by 
running the file down lengthwise ~ 
with the saw. Make a standard 
gauge or wedge to give an abso- 
lutely equal set to all the teeth. 
File a piece of an old thick saw 
square, and then bevel one edge 
off at the required angle till it is 
like a very broad and short chisel. 
Lay the wedge on a flat surface, 
and hit every other tooth with a 
hammer and saw-set till it is 
brought over flat on the bevel. 
The saw is now turned over on its 
other side, and the teeth left out 


SAW 


in the first operation bent over 
on to the bevel in the opposite 
direction. It was said for sim- 
plicity of explanation, that one 
tooth was bent outwards in one 
direction, the next in the opposite 
direction, and so on all the way 
along. It is best, however, to leave 
every fourth, fifth or sixth tooth 
straight to rake out the chips. 
These straight teeth are called 
drag teeth, and when the saw is 
set they should be filed down, so 
that they are y in. below the 
cutting teeth. The same two 
boards used for jointing may be 
used for filing, by removing the 
clamps or bolts, and lowering them 
down, so that the top edge of the 
boards is just level with the bottom 
of the lowest teeth. Do not file 
the first side quite up to the points, 
but turn the saw round and file 
from the other side, and then turn 
back and finish on the first side. 
After the saw is filed, round off the 
point of the first tooth to prevent 
it catching and sticking in the 

kerf. 
- Hand; Lay the saw flat on a piece 
of hard wood, and bend every other 
tooth outwards with a hammer 
and saw-set. Each tooth should 
be bent outwards the same amount. 
Now turn the saw over, and set 
the teeth missed out in the first 
operation in the opposite direction. 
Bend the teeth outwards half the 
thickness of the blade, so that 
when sighting along the teeth the 
inside edge of all the teeth look 
in a straight line. If the saw 
does not work evenly, and seems 
to catch and jump, sight along the 
teeth, and if there be any irregu- 
larity in the set at any point, knock 
the teeth flat, and then reset. The 
catching and jumping may also be 
due to the teeth being filed too 
hooking. A heavy hand-saw should 
always be kept crowning about 34 
in. in the centre. This can be 
seen by sighting along the teeth, 


197 


and seeing if the teeth gradually 
rise towards the centre, and fall 
away again towards the ends. 
The illustration represents a part 
of a hand-saw in the vice ready for 


et a 


eb 


filing. The teeth (B) and (D) are 
supposed to be bent towards the 
operator, the teeth (A), (C) and (E) 
away fromthe operator. Asmooth, 
flat file is first run along the tops of 
the teeth till no one tooth projects 
farther than another, The three- 
cornered file is now placed between 
the teeth (B) and (C); the cutting 
edge of the tooth B, 7.e. (ad), is filed 
so that it is sharp so as to make 
(dbc) about 80°, the edge (ab) being 
almost vertical, the back edge of 
the tooth (C) being left to take care 
of itself. Then file in the same 
way between the teeth (D) and (E), 
and so on all along. Then turn 
the saw round in the vice, and file 
between (A) and (B), then between 
(C) and (D), and so on, the angle (gfe) 
being made about 80° as before. 
The angles (hge), (edb), will be about 
60°. Not all the filing should be 
done at once; first file lightly every 
alternate tooth from one side, as 
explained, then turn the saw round, 
and file the teeth left out from the 
opposite side; then turn the saw 
round again, and finish up the first 
set of teeth, making all the points 
of these teeth sharp, but none of 
them lower than the rest; then 
turn the saw round a third time, 
and finish up for the second set of 
teeth, Finally run a smooth, flat 
file very lightly along the top of 
the teeth, and then along the 
sides. 

SAW : TO TIGHTEN TENON. 
Old saws are often improved by 
hitting the end of the back bar 
with a hammer. 


198 


SCAFFOLDING: POR- 
TABLE. Cut two pieces of 4-in. 
x 4-in. deal 3 ft. long, halve them 
and bolt them together at right 
angles. Brace them firmly with 
two braces, one on each side, made 
from 1 in. board, as shown in the 
‘illustration. Cut a pole of 4-in. x 
4-in. deal, and cut one end to fit 
into the angle already mentioned. 
It will be seen that the height of 


the length of the pole, and it can 
be raised and lowered within limits, 
by placing the foot of this pole 
nearer or farther from the building. 
Make more of these frames and 
poles and then rest boards across 
the frames. If a long length of 
scaffolding be required it will be 
well to have a frame once in every 
8 ft., and to stay the outside frames 
with rope or wire. 

SCALE: BOILER. Scale is 
deposited in pipes and boilers 
from the water. To prevent this 
the water should be artificially 
softened by adding chemicals. 
The chemicals to be added depend 
on the water used, and a sample of 
the water should be sent to the 
manufacturer from whom it is 
proposed to buy the chemicals. 
When scale is once formed, it is 
best to remove it mechanically, 
but paraffin or refined coal oil may 


SCAPFFOLDING—SCREW-DRIVER 


be used. Oils should not be used 
in a boiler which supplies steam 
to an engine. 

SCENT. Cover flower petals 
in a saucer or flat dish with rain 
water, and set them in the sun. 
After a few days a film will be 
seen floating on the top; skim 
this off, and put it in small bottles, 
which should be left open for the 
water to evaporate ; then cork up. 

SCORCHED GOODS: 
HOW TO WASH. Boil in a mix- 
ture of 1 part soap and 1 teacupful 
turpentine in 1 gal, mi 

SCREEN. To make the frame- 
work of the screen see CLOTHES- 
HorszE, The proportions should 
be kept much the same, but the 
size may be altered as desired. It 
will be found best, however, to make 
the bottom bar on each panel as 
near the ground as possible. The 
casters may be left out, and the 
bottom bar on each panel made of 
1 in. wood for the screen to stand 
on. Cover the frame with coarse 
muslin, and nail it as tightly as 
possible all round the edges. The 
muslin may be covered with 2-in. 
strips of two different coloured 
materials woven together checker 
board fashion. Tack strips on edge 
to edge one way, and then weave 
in the cross strips tightly. Other 
coverings are scraps, embroidered 
silk, black cloth with gilt thread 
sown down in japanese designs, 
etc. Tackon heavy braiding round 
all the edges with fancy brass 
tacks, and nail on brass corner 
pieces. © 

SCREW-DRIVER. Forge an 
old 3-in. square or round file some- 
what to the shape shown in the 
illustration, and then soften it. [See 
ANNEALING (Iron and Steel)] Se- 
lect an ash handle and drive on 
a strong brass ferrule at the 
bottom. Saw a slot in the brass 
and wood, so that the shoulder at 
the top end of the driver will fit up 
snugly, as shown in the illustra- 


SCREW-HEADS—SCREW (TO REMOVE) 


tion. Heat the tang end of the 
driver red hot, and press it square 
into the handle. Repeat till the 
handle is nearly home, that is, 
when the bottom of the handle is 
about 4 to 3 in. above (AA). Now 
temper the bottom end of the 
driver dark blue [see TEMPERING], 
so that a file will just cling, and 
not skid. Drive the handle down 
firmly till the bottom of the slot in 
the handle reaches (AA). File off 
any projections of the shoulder 
round the ferrule, and cut flats on 


ris. 


B 


the handle to give a good grip. 
A few light scratches are some- 
times made with a file across (BB). 
This will prevent the driver from 
riding over the screw, but it also 
tends to weaken it. For the same 
reason the flat is sometimes filed 
and ground out hollow instead of 
straight. The thickness at the 
end should depend on the work for 
which the driver is to be used, but 
#y in. should bea minimum. Long 
drivers are more powerful than 
short ones, and those made to fit 
into a brace the strongest of all. 

SCREW-HEADS: HOW TO 
PLUG. Sink the head at least a 4 
in. below the surface, and insert a 
plug of the same wood as that in 
which the incision is made, and 
have the grain as near as possible 
the same, and running in the same 
direction. Fit the plug with 
bevelling sides so tight that when 
it is driven in solid it will not 
quite reach the head of the nail or 
screw. Apply glue to the sides of 
the plug before driving, plane off 
the surface, and sand-paper until 
smooth, 


199 


SCREW -HOLES: HOW TO 
PLUG. (1) Where the screw-hole 
has become too large, immerse a 
stick about half the size of the screw 
in thick glue and put it into the 
hole; then immerse the screw, and 
drive it home quickly. (2) Instead 
of using glue, insert the stick, and 
fill up the cavity with powdered 
resin; then drive the screw in, 
having first heated the screw suffi- 
ciently to melt all the resin. 

SCREW: PICTURE. When it 
is desired to hang a picture on a 


sat ce 


lath and plaster wall, and there is 
not holding for a nail, bore out a 
hole slightly larger than the screw, 
fill the hole with plaster of Paris 
mixed with salt water. (1) Insert 
a screw by turning it in, do not 
press it in; finish by pressing the 
plaster well down with a knife. 
The work must be done quickly, 
for the plaster soon sets. (2) Bind 
copper wire round in the thread of 
the screw, so that it projects be- 
yond the top of the screw thread. 
The wire will thus form a nut to 
the screw. Press the wire and 
the screw into the soft plaster, and 
work the plaster well down witha 
knife from the outside; then leave 
it to set. When set, the screw 
may be taken out, or screwed in as 
desired, the wire being held firmly 
in the plaster. 

SCREW : HOW TO REMOVE. 
To remove, cleanthe cut inthe screw 
head, use a sharp driver, and give 
strong jerky turns to the handle. If 
the screw does not start, hit the head 
with a small punch and hammer. 
and then use the driver as before, 
If the screw will not now turn, 


200 


hold a hot iron to the head until 
the screw has had time to become 
hot all the way down; then use 
the driver again. 

SEED: TO FORCE. Soak good 
seeds in water for 24 hrs., then put 
them in a bag, and expose them 
to the sun all day. In the evening 
plant the seeds in a well-manured 
hot-bed, and keep them thoroughly 
watered with lukewarm water. 

SEED ORNAMENTS. For 
the ornamentation of picture- 
frames and boxes, attach seeds of 
pumpkins, corns, melons, apples, 
coloured beans, etc., with varnish. 
Arrange them in geometrical 
patterns or designs, and then give 
a coat of good varnish over all. 
Nuts and pebbles may be used, but 
the pebbles should be fixed with 
cement. [See CEMENT (GLASS: Dia- 
mond) | 

SHED: CATTLE. To protect 
cattle from storms and rain, a light 


SEED—SHED 


[see Roorinc (FELT)]; or else 
nail fillets on the top and bottom 
of each crack, giving a coat of tar 
before and after nailing. These 
fillets should preferably be made 
bevelling both ways away from the 
crack. Double sheds may be made 
in a similar way, the posts being 
in the centre, and the roof sloping 
away on either side. The centre 
line of posts in this case should be 
very strong, for horned cattle will 
rub their heads against them. 
SHED: CYCLE. To store two 
safety bicycles or one tricycle. Cut 
(A) and (B) 5ft. x 3in. x 2 in. ; cut 
(C) and (D) 4 ft. x Sin. x 2in.; cut 
(E) and (G) 6 ft. Gin. x 2in. x 2 in. ; 
cut (F), (H), (L) and (M) 4 ft. x 2 in. 
x 2in.; cut (I) and (J) 7 ft. x 2in. x 
2 in. Fig. 2 shows the method 
of half jointing the four top corners, 
and Fig. 3 the method of joining at 
the corners of the floor, Make the 
legs 3 in. long, so that the floor is 


FIG. I. 


shed should be run up ina corner 
of the field. Make a tight board 
fence 5 to 6 ft. high, and about 10 
to 12 ft. away from this fence 
erect posts 8 ft. high. Nail boards 
up to the tops of the posts, which 
will run parallel to the fence. This 
will form the two sides, but the 
ends should be left quite open. 
Put thin boards on the top for the 


roof, and cover over with felt and tar | edges. 


Fia. 3. 


raised 5in. above the earth. All the 
joints should be painted with white- 
lead paint before being put together, 
and then fixed together with hard 
wood pins. Make the floor form 
$ in. or § in. match-boarding, 
the sides and roof from § in. 
match-boarding; or the roof may 
be made from weather-boarding, - 
with well fitting joints at the 
Paint the tongues and 


SHED— 


grooves in the boards before fitting 
them together with white-lead 
paint. The roof should be left pro- 
jecting 3 in. all the way round for 
eaves, and it may be covered with 
felt and tarred. [See ROOFING 
(FELT)] The shed door should 
be fitted on to the tall end, 
either hinged to (A) or (B). At 
the opposite end to the door two 
bars for each bicycle should slant 
from the end to the floor, between 
which the back wheel of the 
machine is placed, and the bicycle 
is thus kept in an upright position. 
These bars should be covered with 
felt or old carpet on the inside to 
prevent the enamel being scratched 
off the rim. If the cycles are to 
be kept in the shed during the 
winter, it is best to give the shed at 
least three coats of best paint out- 
side, and line it inside throughout 
with felt. During very wet weather 
a lamp may be left burning in the 
shed to drive off moisture. 
SHED: FRUIT. Make the 
frame from 3 in. x 3 in. deal, as 
shown in the illustration, the pieces 
being fitted together with halved 
joints, as in SHED (CYCLE). Board 
up the floor with § or 1-in. match- 


boarding, the sides and roof with 
£ or 2-in., and cover the roof with 
felt. 


SHELL 201 


be let into the top of each end for 
ventilation, with a hinged wooden 
flap on the outside. The flap 
should be cosed during very wet 
and frosty weather. If space be 
available, fruit and vegetables 
should be stured so that they do 
not touch each other. If there be 
not sufficient room, they should 
be picked over periodically, and 
any slightly rotten or damaged 
fruit removed. 
SHED: SHEEP. Make as 
SHED (CATTLE), but board the 
ends up to within about 2 ft. 6 in. 
from the ground, so that sheep 
and small animals only can enter. 
SHELL DECORATION. The 
principal shells should first be 
polished by rubbing them with 
powdered pumice stone, and then 
with oil and pulverised tripoli on 
a pad. If the shells are to be 
attached to the box or frame very 
close together, they should be 
cemented on [see CEMENT (SHELL)], 
but if they are to be fairly wide 
apart it is best to bed them in a 
putty. Mix whiting and oil to a 
putty and add a little chrome 
green, hammer thoroughly, and 
add oil till it just will not run. If 
only one coloured shell 
be used, the putty should 
be coloured to match. 
Spread it about 4 in. 
thick on the article, and 
then bed the prepared 
shells in it, pressing 
them down with a knit- 
ting needle. Shells of 
different shapes and 
colours should be kept 
in separate boxes; this 
greatly facilitates making 
the patterns, which is 
really mosaic work. The 
work when finished should 
be varnished with thin copal var- 
nish. This takes away from the 


[See ROOFING (FELT)] Run | effect a little, but the ornament is 


shelves along lengthways, so that | more readily cleaned. 


a man can pass down the centre. 


SHELL: HOW TO ETCH. 


A piece of perforated zinc should | Cover the shell with (1) beeswax, (2) 


202 


a mixture of 1 oz. white resin, 4 oz. 
white wax and 2 oz. asphaltum. 
Draw the pattern on the shell, 
scraping away the wax with a 
hard lead pencil. Cover the 
shell with strong acetic or dilute 
hydrochloric acid and leave for 
from 1 to 4 hrs. Wash off the 
acid with water, and then remove 
the wax with turpentine. To etch 
a raised ground, draw the design in 
varnish and immerse in acid. [Sce 
also EtcH METALS (How TOo)] 

SHELVES: HANGING 
GLASS. Use along narrow sheet 
of glass for each shelf, and drill a 
hole near each corner of each 
sheet. [See GLass (How To DRILL)] 
Bind each shelf with ribbon, and 
pass ribbon from one hole to the 
other, at both ends of the shelf, so 
that the glass may be held in a 
sort of sling. Pass ribbons back- 
wards and forwards through the 
holes of the next shelf, so as to go 
both under and over. The remain- 
ing shelves are similarly treated, 
being held apart the required 
distance. Catch the four ends of 
ribbon together, two at each end, 
under a rosette, and hang up by a 
hook in the wall, and put bows 
beneath each hole in the lowest 
shelf. 

SHELVES: HANGING 
WOOD. Cut g-in. mahogany or 
some suitable wood to the size of 
the shelves required, those at the 
top being made smaller than those 
at the bottom. Drill 4-in. holes 
4 in. away from the edge at each 
corner in each shelf. Cut four 
lengths of blind cord, coloured to 
suit the wood, tie a knot in each 
end, and slip each end through a 
spool, and then through the holes 
in the bottom shelf from the under 
side. Pull the cords tight, so that 
the shelf rests at each corner on 
a spool. Now tie another knot 
in each cord at' equal distances 
from the bottom shelf, slip on 
four more spools, and then a 


SHELVES—SIEVE 


shelf as before. Tie another row 
of knots for the third shelf, and 
so on, till all the shelves are sus- 
pended. Now tie the two pairs of 
cords together, and suspend them 
from hooks. 

SHOOT BOARD. Cut three 
pieces of beech of the same length 
and thickness, but of different 
breadths, and plane them up per- 
fectly square. Then screw them 
together, so that all the edges are 
flush at the back, but at the front 
they will make three steps. This 
block will facilitate planing up 
small pieces of wood square. 
Place the piece of wood to be 
squared on the top of the second 
step, and then place a jack plane 
sideways on the top of the first 
step. The iron of the plane will 
then be exactly at right angles to 
the wood to be squared, and if the 
plane be slid backwards and for- 
wards, the edge of the wood will 
be planed up square. Several 
different-sized blocks should be 
made to suit the work. The 
smaller sizes will be found most 
useful, for large pieces of wood 
can be squared up in a vice. : 

SIEVE: HAND. Cut No. 9 
wire into about 80 lengths of from 
4 to 5 ft., and bend the last # in. 
at both ends at right angles. The 
sieve should be 2 ft. to 2 ft. 6 in. 
wide, and the wires should be 
pitched with 4-in. air space between 
them. Take two pieces of board, 
as long as the sieve is to be wide, 
and drill holes and drive the wire 
into the holes, as shown in the 
illustration. If the wires are all 
made the same length, and driven 
across the plank in line, they are 
more liable to work loose. Once 
in every 7 in. braid fine soft an- 
nealed wire across the heavy wires, 
to keep the wires the required dis- 
tance apart. Box the sieve by 
nailing on end and side boards 5 in. 
wide. These boards are nailed 
flush to the bottom and form a box 


_hr. in a warm place. 


SILK—SILVER 


203 


on the top. To sift, set the sieve | sponge with alcohol, and after with 


at an angle of 45 degs., and throw 
the gravel against it with a shovel. 

SILK: CREASED. Silkarticles 
should not be kept folded in white 
paper, as they are liable to be 
bleached by it ; brown or blue paper 
is safer, but smooth light yellow 
paper is the best. Material re- 
quired for a dress should be made 
up as soon as possible, or else kept 
rolled up on a wooden roller, not 
folded. Hard silk should never be 
creased as the thread gets broken. 
To remove the wrinkles from 
handkerchiefs, etc., moisten the 
surface evenly with a sponge dipped 
in very weak glue; pin the material 
out tightly and evenly over a mat- 
tress, and leave it to dry. Some 
light silk articles may be moistened 
with gum-arabic, and ironed on the 
wrong side. 

SILK: OILED. Stretch the 
silk out evenly on a frame; paint it 
with boiled linseed oil or gold size, 
and hang it up away from damp to 


dry. 

Sik: HOW TOWASH. Mix 
together 4 pt. gin, 4 oz. soft soap 
and 2 oz. honey, and apply with a 
sponge. Then wash through two 
waters, to each of which a little 
ox gall has been added. Hang up 
to drain and dry, but do not wring. 
For black silk, pare and slice a 
good sized potato in 1 pt. warm 
water, and leave it soaking for 4 
Rub the silk 
with a woollen cloth, and then 


the potato water. Wind ona roller 
and do not iron. 

SILVER: HOW TO CLEAN. 
(1) Ordinarily mix 2 parts methy- 
lated spirits and 1 part ammonia 
with whiting to a thick cream. 
Smear this over the silver and 
allow it to dry before polishing it 
off. Soap and water should only 
be used in exceptional cases. If 
the silver be rather dirty in corners, 
steep it in soap lyes for three or 
four hours before smearing it with 
the paste. Ifthe silver be greasy, 
remove it with hot water and soda; 
or if exceptionally so, as in the case 
of candlesticks, use alcohol. Then 
cover with the paste. (2) To re- 
move sulphur stains, such as those 
on egg spoons, (a) rub with the 
water in which potatoes have been 
boiled; (b) a solution of potassic 
manganate ; (c) a solution of } oz. 
potassium cyanide in 10 oz. water. 
(3) For very badly-tarnished silver 
apply one of the following: (a) 
Rub over with a solution of 1 part 
sulphuric acid to 10 parts water 
with a flannel. (b) Boil in the 
solution of sulphuric acid. (c) Heat 
the silver and then quench it in 
the solution of sulphuric acid. Re- 
peat again if necessary. After 
treating in either of the three 
methods, rinse in clean water, and 
then dry over a water bath or in 
boxwood sawdust. (4) For delicate 
filigree work (a) cut lemons into 
slices and rub the article with 


204 


them; then cut a lemon nearly in 
half, insert the article, close up the 
lemon, and leave for a few hours. 
Then take it out; rinse in two or 
three waters, place it in very hot, 
but not boiling suds; rinse again, 
and then dry on a metal plate over 
hot water, or in boxwood sawdust. 
(b) Boil in a solution 1 part cream 
of tartar, 2 parts salt and 50 parts 
water till clean. Then rinse and 
dry as for (a). If silver articles be 
stored wrapped up in silver paper 
they will not become tarnished. 

SILVER: OXIDISED. (1) 
Powder fine and mix 2 parts copper 
sulphate, 1 part saltpetre and 2 
parts sal-ammoniac, then dissolve 
in the least possible amount of 
concentrated acetic acid. Warm 
the silver and the liquid, and im- 
merse or apply with a brush. The 
colouring is of a brownish black, 
and may be scratch-brushed. (2) 
Powder and mix 1 part common 
salt and 2 parts saltpetre with 
concentrated hydrochloric acid in 
a plumbago crucible, and boil. Im- 
merse the silver, or apply the liquid 
with a brush. (3) Immerse the 
silver in a hot solution of perchloride 
of platinum. The depth of the tint 
depends on the strength of the 
solution, and the length of time the 
silver is immersed. (4) Boil the 
silver in a mixture of 5 oz. bromine, 
120 grs. bromide of potassium and 
10 oz. water in an earthenware pot 
for from 3 to 5 mins. This colours 
the metal a deep black, which may 
afterwards be polished with jewel- 
ler’s rouge and wash leather. (5) 
Dissolve 2drs. sulphide of potassium 
or ammonium sulphide in 1 pt. 
water, and heat to about 175° Fahr., 
and then dip the silver in for a few 
seconds. This gives a blue black 
coloration. 

SILVER: HOW TO WET 
COLOUR OR FROST. Immerse 
the metal in a mixture of hydro- 
chloric acid, nitre, salt and alum. 
This liquid will also frost gold. 


SILVER—SKIN BIRDS» 


SIPHON. The siphon is a tube 
bent like a U, but having one leg of 
the U longer than the other. The 
tube is then filled with water, a 
finger placed over each end, to 
prevent the water draining out, 
inverted, and the short leg placed 
inthetank. Now remove the finger 
under the water in the tank first, 
and then the finger stopping up the 
long leg. The water will then flow 
through the siphon out of the tank, 
as long as the short leg is immersed 
in water. Another way is to place 
the short leg in the tank as before, 
and suck the long leg till the action 
is started. A good way is to use a 
piece of rubber tubing, and hold it 
bent, while the water drains out. 
No siphon will work if the distance 
from the water level to the bend 
of the U is more than 30 ft., or if 
the end of the leg outside is higher 
than the top of the liquid in the 
tank. 

SIZE: PARCHMENT. Place 
parchment chippings in an iron 
kettle ; fill it with water, and leave 
it for 24 hrs. Then boil for about 
5 hrs.; remove the scum, and 
strain through cloth. 

SIZE: SIGNWORK. Place a 
pan of linseed oil overa fire. When 
it begins to smoke, set fire to the 
oil, allow it to burn for a moment, 
and then extinguish it by putting 
the lid on. Remove the pan and 
use the oil when cold. The oil may 
require thinning with turpentine 
before use. 

SKIN BIRDS: HOW TO. The 
instruments required are a scalpel, 
which is like a very small bone 
paper-knife, a small pair of forceps, 
a small-bladed and very sharp 
knife, a pair of sharp fine scissors, 
plaster of Paris, or some fine hard 
wood sawdust (dust from fretwork), 
and arsenical soap. [See Soap(PRE- 
SERVATIVE)] Take the bird, and 
stuff the mouth and nostrils tightly 
with cotton-wool. If the eyeballs 
be broken, stuff them also full of 


SKIN BIRDS 


cotton-wool; in any case it is desir- 
able to rub underneath the eyelids 
with a small piece of cotton-wool 
held in a pair of forceps. Every 
shot hole must also be plugged 
with cotton-wool. If the feathers 
be covered with blood, dip a small 
sponge in hot water, squeeze it as 
dry as possible, and clean the 
feathers; the sponge should be 
often squeezed out, and kept clean. 
When they are fairly clean, remove 
as much moisture as possible with 
a dry sponge. Then lift up the 
feathers with a stout piece of 
blunted wire, and scatter plaster 
of Paris plentifully all round them, 
and beat smartly with the wire, 
continually adding more plaster 
and beating. In a short time the 
feathers will be quite dry and clean, 
when the plaster should be brushed 
out with a hare’s foot. Turn the 
bird on its back, the head pointing 
towards the operator, and open 
the feathers along the centre of 
the breast, where a natural bare 
place will be found. Cut the skin 
with the knife or scissors from the 
middle of the breast-bone to the 
-vent. The incision may be cut 
deep in the breast, but care should 
be taken lower down only to cut the 
skin, or the entrails will fall out 
and soil the feathers. Now pick 
up the edge of the skin on one side, 
and if the bird be small, insert the 
scalpel, and waggle it about side- 
ways to separate the skin from the 
flesh. Do not pull the skin, for it 
will be stretched or torn. As the 
skin is separated, sprinkle plaster 
of Paris or sawdust between the 
‘flesh and skin freely. The skin 
can thus be separated from near 
the tail to a good way up the 
breast and sideways to the leg. 
Repeat on the other side. Now 
take one of the legs and press it 
inwards, pushing the skin down it 
till the knuckle becomes visible. 


Cut the knuckle with the scissors, 


taking care not to cut the skin, and 


205 


then pull the leg back from the 
outside. Repeat on the other leg. 
Now work round with the scalpel 
as before, using plaster or sawdust 
freely. With care sever the vent 
from the body. The skin can now 
be worked off the flesh all the wa 

round the back near the tail. 
When perfectly free, cut the flesh 
away at the root of the tail (if the 
root of the tail be cut the feathers 
will fall out), and then with an 
upward cut sever the back-bone. 
Now turn the tail back, and skin 
all up the back, turning the skin 
inside out. Do not pull the skin, 
but work it with the finger-nail, 
and carefully scrape with the knife. 
When near the wings, push them 
inwards, and sever at the knuckle, 
just as the legs were severed. 
Continue skinning as before over 
the shoulders, but when the neck 
is reached, push the skin away, 
and be very careful not to pull. 
Continue turning the skin inside 
out over the skull. The ear tubes 
will soon stop farther progress; 
these tubes may be pulled intact 
out of the skull by scattering plaster 
over thém, and scratching gently 
with the nail. A little farther on 
the eyes come; these must be 
carefully cut from the skin by 
lightly passing the knife over the 
eyeball, leaving them in their 
sockets. Continue to skin till the 
base of the bill is reached. The 
skinning proper is now completed. 
Cut the neck just below the skull, 
but not too close, or the jaw-bone 
will be severed, and the lower 
mandible will then hang loose. 
Cut a portion off the back part of 
the skull, which is left attached to 
the skin, and remove all the brain 
with a pin head or some suitable 
instrument. Now go back to the 
legs, and press them inwards till 
the next joint is nearly seen. 
Remove all the-flesh on the bone, 
and pull the leg back again in 
place. Repeat on the other leg 


206 SKIN 


and the two wings, and the base 
of the tail. Thoroughly clean the 
skull, and go all over the skin, 
picking off all pieces of fat, etc. 
Work up the arsenical soap to a 
good lather with a paint brush, 
and rub it well into and outside 
the skull. Cut up tow, and press 
it into the skull. Fill each eye- 
socket with cotton-wool, and tie 
the two leg-bones together on the 
inside, also the two wing-bones. 
Now soap the wing and leg-bones, 
and then all over the skin, soaping 
the tail base well. Now turn the 
skin right way out again, by push- 
ing the beak back down the neck. 
Make up a piece of tow the same 
size and shape as the neck, and 
insert it in the skin, pressing it, 
and adding to it till the neck looks 
right. Use a blunted piece of 
wire to force the towin. Now fill 
up the spaces left by the muscles 
in the legs and wings. Next copy 
the body in tow by binding pieces 
of tow together with cotton till of 
the correct shape. Place this in 
the body, and then press a piece 
of wire, which should be as thin as 
possible with one end sharp, 
through the body and out at the 
forehead. Nip the wire off flush 
with the head, and sew up the cut 
down the breast with small stitches. 
Press and squeeze the body into 
shape, and finally smooth down all 
the feathers by raising them with 
the eye end of a needle, and then 
brushing them down with a hare’s 
foot. Stuffing a bird requires a 
great deal of experience, and should 
be learnt by taking lessons from 
a taxidermist. After learning to 
skin from the notes given here, it 
would be a great advantage to 
have a few practical lessons from 
a professional. 

SKIN FISH: HOW TO. Bed 
the fish down in clay, leaving the 
best side uppermost, and then pour 
plaster over it. [See Cast (PLASTER 
FisH-)] Take the fish out when the 


FISH 


plaster is set, lay it best side down, 
and bend a piece of fairly stout cop- 
per wire, so that the outside edge 
of the wire will exactly correspond 
to the inside of the skin, the fins 
and tail being left out, as shown 
in the illustration. The two ends 
of the wire should be brought out 
at right angles to fix into the back 
of the case to support the fish. 
Note any peculiarity of shape, 
marking or coloration of the fish, 
so that when the fish is eventually 
set up these peculiarities can be 
formed again, and the colouring 
painted on. Cover the best side 
of the fish—the side from which 
the plaster mould was taken—with 
tissue paper or muslin, and stick 
it on with gum or glycerine. Wrap 
the tail and fins in damp cloths, 
which must be kept continually 
damp during the whole operation 
of skinning and stuffing, or they 


will become hard and get cracked. 
Lay the fish paper-side down in 
the mould, and cut through the 
centre of the bone under the gill 
cover, and continue the cut all 
along the side of the body to the 
tail, Now rub sand over the 
fingers, so that the skin can be 
held, and work it away from the 
flesh in the ordinary way. Leave 
the bones of the tail and fins long, 
and with plenty of flesh round 
them, remembering that the skin. 
is thinnest at these parts and at 
the vent. Now work round over 
the back, and up underneath, till 
the fingers meet behind near the 
tail, and then cut right through 
there with a pair of scissors. The 
skin may now be separated from 
the body readily all over, cutting 
the flesh away, and leaving it 


SKIN MAMMALS 


attaened to the fins. When the 
shoulders are reached, cut away 
the body at the back of the head, 
detaching it entirely. Then clean 
the bones of the tail and fins, and 
cut the bones off short; also clean 
away with the fingers any flesh 
there may be still attached to the 
skin. Cut through the gills at the 
top and bottom, and remove each 
whole. Now cut a slice off the 
under side of the skull, and re- 
move the brains. Then work 
round the sides till the eyes are 
reached, and remove them from 
the inside. Remove the flesh from 
the cheeks from the outside, work- 
ing with small knives and scissors 
through the eye-holes; then re- 
move the tongue, and all flesh 
inside the mouth. Finally paint 
the inside of the skin and head all 
over with preservative soap. [See 
Soap (PRESERVATIVE)] To stuff, 
fill the cheeks with putty, and 
place a wedge-shaped piece under 
the jaw; also pieces of putty on 
the projecting bones of the fins 
and tail, to support them. Now 
place the fish in the half-mould, 
insert the wire frame, and fill the 
skin half-full with sawdust, bran 
or plaster of Paris. Drill two 
small holes in each bone below 
the gill cover, which was first cut 
through, and tie them up tightly, as 
they were before being cut, with 
thread. Then sew through the 
gill cover, and then through the 
skin alternately across the cut, but 
not too near the edge or it will tear. 
All the time as the sewing is 
proceeding, ram in the stuffing 
material towards the head with 
the top of a pencil, and press the 
skin well down into the mould; 
then end off the thread at the first 
wire, so that about one-third of 
the fish issewn up. Now commence 
sewing from the tail, ramming in 
the stuffing material as_ before, 
and continue till the cut is com- 
pletely sewn up, finishing off the 


207 


thread on the copper wire. Bore 
two holes in a board, and pass 
the two ends of the supporting 
wire through. If the fish looks 
thin and flat, tap it all along the 
back with a paper-knife, till the 
fish assumes the shape it originally 
had, and which corresponds with 
the sizes taken. Take the damp 
cloths off the fins and tail; stretch 
them out, and pin them between 
two sheets of cork. Immediately 
the skin is dry, give it a coat of 
thin shellac varnish, or the scales 
will rise as it shrinks; and bind 
cotton round the gills and mouth 
till they assume the desired shape. 
When the fish is quite dry, fit in 
artificial eyes with putty; and as 
the skin will most probably be of 
a dirty uniform tint, it must be 
painted with oil colours, taking the 
original sketch and notes and a 
fresh fish for a guide. Varnish a 
second time, and when this coat is 
dry, mould round the fleshy parts 
of the mouth with wax, so as to 
hide these parts when they shrivel. 

SKIN MANIMALS: HOWTO. 
Small quadrupeds may be skinned 
exactly as a bird, treating the fore 
legs as wings. For larger animals, 
of which it is desired to keep the 
skin for rugs and mats, slit the skin 
round the feet of the hind legs and 
then join these two slits by a cut 
on the inside of the two legs and 
across the bottom of the body. 
Draw the body through this slit, 
turning it inside out, and when the 
fore legs are reached, detach them 
by cutting round at the wrists. 
Continue till the mouth is reached, 
and then detach at thelips. Give 
the skin a good lather of arsenical 
soap [see SOAP (PRESERVATIVE) ], and 
thoroughly work it in. The skin 
must be tightly stretched inside out 
to dry by one of the following 
methods: (1) Prepare a thin piece 
of wood that will stretch the body 
out when inserted inside. Split 
the wood down the middle and then 


208 


insert it in the skin. Tap a very 
long taper wedge up the middle 
between the two pieces of wood 
till the skin is stretched evenly all 
over, and then tack it lightly in 
place. For fairly small skins the 
wedge may be omitted, but the 
wood must always stretch the skin 
tightly. (2) Cut a stick of suitable 
springy wood of the required length 
and size, and place it inside in the 
shape ofahorse collar. The spring 
in the wood will keep the skin taut. 
For receipts for dressing the skins 
see TAN SKIN (How TO). 

SLED: COASTING, OR TO- 
BOGGAN. Shape two #in. boards 
of tough wood 28 in. long x 4 in. 
deep for runners as_ illustrated. 
Bore three #-in. holes 1} in. below 
the top edge of each runner; bore 
the first 3 in. from the rear end, the 
next 74 in. from the first, and the 
third 74 in. in front of the second. 
Just in front of the centre hole cut 
a hand grasp in each runner, the 
top being about 1 in. below the top 
edge of the board. Cut them 4 in. 
long x 1} in. deep at the centre. 
Near the point of each runner bore 


SLED 


jecting beyond the runner, to make 
all flush. The top edge of the 
distance pieces should lie horizontal 
for the seat to rest on, and it should 
be # in. below the top edge of the 
runners. The seat should be made 
from 3-in. board, 10 in. wide x 17 
in. long, shaped as shown in the 
illustration. Screw it down firmly 
on to the distance pieces and at 
the sides to the runners. The 
runners may be shod with hoop 
iron ? in. wide x barely 4 in. thick. 
Drill four holes equidistantly apart, 
so that the iron is attached to the 
runner at each end, and at two 
intermediate points. If the holes 
cannot be drilled, heat the iron red- 
hot, and then punch a small hole 
through it quickly. When cold, the 
hole may be enlarged to the required 
size with a rimmer, and then 
countersunk, so that the heads of 
the screws are slightly below the 
level of the iron. Now bend the 
iron to shape, and screw it in place. 
The back part should be left a little 
long and well turned up, so that it 
does not catch when the toboggan 
is pushed backwards. 


a 1-in. hole to attach the drawing 
rope to. Cut three 1-in. square 
beams from some tough wood 12 
in. long. Cut the last inch on each 
end down t® 3 in. round, leaving a 
shoulder, so that they will butt up 
against the runner when driven 
into the holes already drilled for 
their reception. Drive the runners 
on—they should be a tight fit—and 
then fasten them in place by driving 
a screw down from the top edge of 
the runner through these distance 
pieces; then cut off the 4 in. pro- 


SLED: FRANED. (1) Dress 
out two sticks of ash or oak for 
runners 1 in. wide x 2 in. thick x 
28 in. long. Steam and bend them to 


shape. [See Woop (How To STEAM)] | 


After the runners are bent, bore 
three 4-in. holes through each from 
top to bottom; the first 4 in. from 
the back end; the second 9 in. from 


the first; the third 9 in. from the 


second. Cut six #-in. square hard 
wood rods 74 in. long for uprights. 
Make 4-in. round tenons in each 
end, so that the shoulders are 54 


ee ee ee a ae 


SLED 209 


in. apart. Drive one end of each| They should be long enough to 
into the holes already drilled in the | project 24 in. behind the rear beam, 
runners, leaving the other ends free | and bent in front to reach the 
for the cross beams to fit on. Cut | runners as shown in the illustra- 
three hard wood rods ? in. thick x | tion. Fasten by two screws driven 


Fia. I. 


lj in. wide x 14in. long forthecross | into each upright, and also at the 
beams or distance pieces. Bore | end where it joinsthe runner. The 
two 4-in. holes in each, 1 in. from | seat should be made of #-in. wood 
each end. Before putting the sled | shaped as shown. The sled may 
together bore two }-in. holes a few | have }-in. iron braces if desired, but 
inches from the upper ends of the | a well-made wooden article is best 


Fic, 2. 


runners and fit in a stick to draw by. | without iron braces at all, for the 
Now drive in the draw stick, and | iron does not spring as the wood 
then drive on the cross beams. | does, and so the joints get racked. 
Drive wedges in all the tenons, | The runners should be shod with 
across the grain of the mortise, | iron. [See SLED (COASTING)] (2) A 
so that they do not split, and trim | fancy sled is shown in Figs. 2 and 3. 


Fia. 3. 

off all tenon projections flush. The | This is made materially as No. 1, 
raves (the bars that run parallel| but the runners are bent round, 
to and above the runners) greatly and fit into the seat instead of using 
add to the strength of the sled.| raves. The uprights are fitted 
Make them 2 in. deep x 4 in. thick. | slanting; the rear one inclining 4. 


14 


210 


in. forward; the centre one inclin- 
ing 2 in. forward; the forward one 
inclining 2 in. backward. 

SMOKED WALLS: HOW TO 
CLEAN. Mix 1 pt. wood ashes toa 
small pail of whitewash just before 
applying it. 

SNOW SHOVEL. Cut a piece 
4-in, deal 12 in. wide x 17 in. long 
for the blade, and plane it down at 
the cutting edge rounded. Upon 
the back end screw a piece of #-in. 
ash or tough wood, 5 in. wide x 12 
in. long. In the centre, from end 
to end, and near the top edge, drill 
a hole slanting downwards and 


forwards, so that the handle, when 
passed through this hole, will strike 
the blade 5 or 6 in. below it. Bevel 
the end of the handle, so that it lies 
flush on the blade, and then fix it 
there with astapleorascrew. The 
handle should be long enough to 
prevent stooping when at work, and 
the whole should be as light as 
possible. 

SOAP. (1) Set a barrel on an 
inclined platform; place a few sticks 
in the bottom, and cover with a 
piece of carpet or woollen cloth. 
Cover the carpet with a few inches 
of ashes made from sound beech, 
maple, or any hard wood excepting 
oak, and then 4 to 8 qts. lime 
Moisten and tamp down well, 
firmest in the centre. After 24 
hrs. the ashes should be mixed up 
again, those on the top thrown 
away, and new ashes added to 
replace them. 
water, which should be boiling for 
this second leaching. Mix 1 Ib. 
concentrated lye in 1 gal. boiling 
soft water, and leave for about 10 
hrs.; then add 1 gal. soft water, 
and boil. Add 4 lb. clear melted 
grease slowly, and stir briskly, 
letting it boil slowly for about 6 


Then damp with | 


SMOKED WALLS—SOAP 


hrs. Then add 4 qts. hot water, 
in which 2 tablespoonfuls of borax 
have been dissolved, then 4 table- 
spoonfuls resin and 1 teacupful salt. 
Cook for about an hour, when the 
soap will most probably be made. 
To test, dip a stick in the mixture, 
and if the soap drop off clear and 
hardens quickly it should be poured 
out into open vessels and cut up 
into bars when cold. (2) Dissolve 
17 lb. caustic soda in 180 lb. water. 
Melt 100 Ib. fat, and then add 
nearly all the caustic soda solution, 
alittle atatime. Boil and stir for 
several hours, and when the mass 
is homogeneous throughout, 
throw in salt till the soap 
rises as a curd. Then run 
off the waste lye, and boil 
again, adding the remainder of 
the caustic soda solution. When 
the mass becomes smooth and 
pasty, pour it out into moulds. (3) 
Melt 100 Ib. fat, and allow it to cool 
to 100° Fahr. Dissolve 17 lb. caus- 
tic soda in 65 lb. water, and warm it 
to 80° Fahr; then add it to the fat, 
and keep stirring for 4 hr. When 
as a homogeneous pasty mass, 
pour it out into covered moulds, 
and keep it at about 70° Fahr. for 
a few days. For large quantities 
of soap mix 1 part caustic soda with 
5 parts fat; for small quantities 
mix 1 part caustic soda with 44 to 
4 parts fat. 

SOAP: ERASIVE. Boil 1 Ib. 
finely-shred soft soap, 1 oz. borax, 
4 Oz. Saltpetre and 3 oz. ammonia 
in 1 qt. soft water. This soap is 
useful for washing off grease, etc., 
and forms a base for other soaps, 
such as shaving soap. 

SOAP: GELATINE. Warm 
very slowly and gently, and stir till 
dissolved, 2 lb. white olive soap 
finely shred and 2 oz. borax in 2 
qts. cold water. When cooled the 
soap sets as a jelly. 1 cubic inch 
of jelly will make 1 gal. of lather. 

SOAP: GLYCERINE. Mix 1 
pt. alcohol with 1 pt, water, and 


SOAP 


warm over a fire. Then add 1 lb. 
finely-shred olive oil soap, and when 
the soap is dissolved, and the greater 
part of the alcohol evaporated, add 
1 lb. glycerine. .Stir for 2 or 3 mins., 
and add any desired perfume. 

SOAP: HARD. (1) Mix 2 Ib. 
clean unslaked lime, and 6 lb. soda 
ash with 8 gals. water. Heat, and 
when boiling strain it, and return 
the liquid to the kettle. Then add 
12 lb. clear grease, and boil for 
3 hrs.; then leave to cool slowly. 
Remove the hard cake formed, 
without touching it with the fingers. 
Put it into a clean pot, and add 
1 Ib. finely-pounded borax. Stir it, 
and heat till melted; then pour it 
out into moulds, which have been 
previously well soaked in water. 
Set to dry in an airy place, but not 
in the sunshine, for the first few 
days. Pack the soap away in adry 
place. The liquid remaining in the 
pot will make another lot of soap, 
if 4 lb. grease be added, but it will 
be of an inferior quality. (2) Soak 
5 lb. unslaked lime and 5 lb. soda 
in 3 gals. soft water for 12 hrs. 
Then strain, and add 3% lb. clear 
grease. Boil it till thick, pour it 
out into a pan to cool, and cut it 
into bars. (3) Boil 3 lb. quicklime 
and 7 |b. soda in 4 gals. water till 
dissolved. Leave it to settle, and 
then pour off the clear liquid. Add 
water to this liquid to make up to 
4 gals., and add 4 lb. grease and 2 
tablespoonfuls borax, and boil till 
thick. When cold cut the cakes 
rather larger than the desired 
shape, for the soap shrinks in dry- 
ing. (4) Mix thoroughly 6 lb. soda 
and 3 lb. quicklime in 4 gals. soft 
water. Strain, and then add 6 lb. 
clear grease. Boil for 20 mins., 
pour it out into a pan, and before it 
gets perfectly cold, cut it up into 
bars. (5) Simmer, together 5 pail- 
fuls soft soap, 2 Ib. salt and 1 lb. 
resin. When thoroughly mixed, 
turn it out into shallow pans, and 
when cold, cut to shape. 


211 


SOAP: HONEY. Dissolve 1} 
lb. finely-shred white soap, and 4 
Ib. finely-shred windsor soap in soft 
water. Then add 4 oz. honey, and 
keep all hot till all the water is 
evaporated. Perfume as desired 
while the soap is hot, and cut it up 
into cakes when cold. 

SOAP: LABOUR SAVING. 
Mix 4 oz. quicklime in 1 gal. cold 
soft water, and then strain. Dis- 
solve 4 lb. soda in 1 qt. water and 
mix it with the lime water, Dis- 
solve 1 lb. finely-shred brown soap 
in 1 gal. water, and add it to the 
soda and lime water. This soap 
is useful for boiling greasy fabrics 


in. 

SOAP POWDER. Mix6 parts 
yellow soap, 3 parts soda crystals, 
14 parts pearlash, 14 parts sulphate 
of soda and 1 part palm oil. Spread 
out to dry, and then grind up toa 
powder. 

SOAP: PRESERVATIVE. (1) 
Mix 5 oz. camphor, 2 lb. white 
arsenic, 2 lb. white soap, 2 oz. 
salts of tartar and 4 oz. chalk. 
This soap is very strong, and is the 
usual arsenical soap. (2) (a) Stir 
12 oz. best white soap shavings in 
14 pts. water ; when dissolved add 1 
oz. arsenic and 1 oz. corrosive sub- 
limate. (b) Dissolve 1 oz. camphor 
in 8 drs. spirits of wine. Mix (a) and 
(b) together. (3) Boil 1 Ib. white 
curd soap shavings or soft soap 
with 2 to 3 lb. whiting in 1 qt. 
water. Take it off the fire, and 
stir in 2 oz. chloride of lime. When 
cold, add 1 oz. tincture of musk, 
and then bottle in air-tight recep- 
tacles. This preservative soap is 
often used on small skins, and it has 
the recommendation that it is not 
poisonous, whereas Nos. 1 and 2 
are. 

SOAP: TO REFINE. Dissolve 
1 pt. salt in 2 gals. soft water, and 
boil 6 lb. finely-shred soap in this 
brine for 2 hrs. Pour it out intoa 
pan to set, and when cold cut into 
bars, scrape the sediment from the 


212 


bottom, and lay on a shelf to drain. 
Then expose to bright sunlight for 
some considerable time. 

SOAP: ROSE. Mix 2 Ib. 
finely-shred white soap, 3 Ib, 
finely-shred olive oil soap and 4 lb. 
rose water in a pot. Hang this 
pot in water, which is just kept 
below boiling, till the soaps are 
thoroughly mixed. Then add 3 oz. 
(more or less according to the shade 
required) finely - sifted vermilion. 
Take the soap out of the hot water 
and add 34 oz. otto of roses, and 
¢ oz. bergamot. 

SOAP: SHAVING. (1) Make 
as erasive soap [see SOAP (ERASIVE)], 
excepting that 4 pt. water should 
be used instead of 1 qt. (2) Heat 
24 Ib. lard, 8 oz. caustic potash 
and 2 pts. water in a pan, and 
mix thoroughly. Leave it to sim- 
mer, and the water to evapor- 
ate, till as a thick creamy paste; 
then place it in a mortar, and beat 
it up with a few drops oil of almonds 
and oil of bergamot. The soap is 
then ready for use. 

SOAP: SOFT. (1) Heat soap 
grease up in a weak lye, but do not 
boil it. After the grease is well 
eaten, fill the pot with water, and 
let it stand until the grease rises in 
a crust to the top. Use 10 lb. of 
this risen grease to 6 lb. potash 
for the soap. Dissolve the potash 
and strain the lye into the place 
where the soap isto be kept. Melt 
the grease, and add it, stirring 
briskly. Add water to make the 
quantity up to a 4 barrel; stir 
several times a day till good 
soap is formed. (2) Dissolve 13 
Ib. potash (gray coloured is best) 
ig hot soft water. Then add 17 
lb. grease, and keep on adding hot 
water till it stirs readily. Melt 12 
oz. resin in 3 lb. grease, and stir 
this into the mixture. These quan- 
tities willmake 1 barrelsoap. Only 
the best lye should be used for 
soft soap. Soft soap sometimes 


appears to be good, but changes. 


SOAP—SOLDER 


after a few days. This is probably 
due to making the soap too strong, 
and then adding water. If very 
strong it will be thin and dark,and by 
adding cold water, and thoroughly 
stirring, the colour is changed, and 
the mass thickened. This gives it 
the appearance of good soft soap 
for a few days only. 

SOAP: STAIN-RENOVING. 
Place 23 lb. best white soap shav- 
ings with 1 lb. water and 14 lb. ox 
gallina boiler. Cover it over, and 
leave for 24 hrs., then heat up 
slowly, regulating the heat, so that 
all dissolves and mixes without 
stirring. When homogeneous, add 
1 oz. turpentine and 2 oz. benzine 
and mix. Whilst melting, colour 
with ultramarine and ammonia, 
and then pour out into moulds. 
The soap should not be used till it 
is at least a week old. 

SOAP: TOILET. Boil 6 lb. 
soda and 3 lb. quicklime in 4 gals. 
soft water till dissolved. Leave it 
to settle, decant the clear liquid, 
and then add 7 lb. clear grease. 
Boil till it is of the consistency of 
honey; then add perfume and ver- 
milion to colour as desired. 

SOAP: TRANSPARENT. Mix 
1 Ib. finely-shred brown bar soap in 
3 pt. alcohol. Place this in a pot, 
place the pot in boiling water, and 
leave the water boiling for 10 mins. 
Remove the pot from the water, add 
a few drops of bergamot or lemon, 
and turn into moulds, 

SOLDER. To run the solder 
out into wire, punch a hole in the 
bottom of a ladle; pour molten 
solder into it, and move it over a 
saw blade or a piece of cold stone, 
thus allowing the solder to pour 
out and form a thin stick. The 
thickness of the wire depends on 
the speed at which the ladle is 
moved, and on the size of the hole 
punched. In making solder it is 
important to thoroughly mix the 
molten metals. First melt the 
constituent, which has the highest 


SOLDER COPPER—SOLDER FLUXES 


melting-point, and add the others in 
their order. Melt soft solder under 
tallow, and hard solder under char- 
coal, to prevent oxidisation. 

Hard or Brazing: (1) Melt and 
mix 3 parts copper and 1 part zinc. 
This solder is the hardest brazing. 
(2) Melt and mix 1 part copper and 
1 part zinc. This solder is medium 
hard brazing, and is the usual 
spelter of commerce. (3) Melt and 
mix 4 parts copper, 3 parts zinc and 
1 part tin. This solder is soft 
brazing. (4) Melt and mix 2 parts 
tin and 1 part antimony. This 
solder is soft brazing. (5) Melt and 
mix 2 to 3 parts silver with 1 part 
No. 2 solder. 

Soft: (1) Melt and mix 2 parts 
lead and 1 part tin. This is the 
usual soft solder of commerce. (2) 
Melt and mix 3 parts lead and 2 
parts tin. This is employed for 
soldering lead. (3) Melt and mix 
-2partstin and 1 partlead, This is 
employed for soldering pewter. (4) 
Melt and mix 2 parts lead, 1 part 
tin and 2 parts bismuth. This 
solder melts at a high temperature. 
(5) Melt and mix 4 parts lead, 4 
parts tin and 1 part bismuth. This 
solder melts at a low temperature. 

SOLDER COPPER: HOWTO. 
Scrape the parts of the metal that 
are to be joined together quite 
bright with a knife or emery cloth, 
keeping off all grease, and then 
sprinkle powdered resin (or the 
necessary flux) over them. Place 
the soldering iron in a wood or coke 
fire, and when sufficiently hot, press 
it on to some powdered resin, or 
wipe it with a damp cloth. Im- 
mediately after press the end ofa 
stick of solder on it, which should 
melt,.and a globule of solder should 
then hang from the tip of the iron. 
Press the iron with the solder at- 
tached over the edge of the joint, 
and press the solder wire against 
the iron. The solder will melt and 
flow all along the joint. Remove 
the wire, and work the melted 


213 


solder well in with the iron, and 
whilst molten, press the joint to- 
gether and wipe off all the super- 
flucus solder with a piece of waste. 
When the surface of the copper bit 
of the iron gets black, and the 
solder will not attach itself, file the 
iron till it is bright, and then rub it 
whilst hot on a piece of hard wood 
and powdered resin. Now rub the 
solder on, and it will immediately 
silver. For small work, first tin 
all the parts which are to be joined 
together, using killed spirits for a 
flux ; then hold them in place with 
a small hand-vice or pliers. Usea 
very small blow-pipe, or a spirit- 
lamp, and solder without an iron, 
if possible,, Where joints make a 
very good mechanical fit, moisten 
them with killed spirits, place a 
piece of tin-foil between, bind them 
tightly together with wire, and 
hold them in aclear flame till the 
tin melts. To solder very small 
and fine articles, cut a piece out of 
a raw potato, put the fine work inte 
the hole and cover up with the 
plug of potato cut out, leaving only 
the part to be soldered outside. 
Then solder as quickly as possible 
with a very small blow-pipe or 
spirit-lamp. Where two joints 
have to be made close together, 
solder the first with solder made 
to melt at a high temperature, and 
the next with solder of a low melt- 
ing-point. This prevents the first 
joint from coming to bits, whilst 
the second is being made. 
SOLDER FLUXES. (1) Borax, 
used exclusively for hard soldering. 
[See BRazING] (2) (a) Resin, (b) 
resin boiled in oil, (c) powdered 
resin mixed with oil or tallow, (d) 
Russian tallow. Pure resin is used 
very generally for soft soldering 
brass, copper, etc., and almost ex- 
clusively for electrical work. Resin 
and oil or tallow is used for solder- 
ing pewter, lead, etc. (3) Killed 
spirits. This flux is made by 
placing granulated zine in hydro- 


214 


chloric acid till it will dissolve no 
more ; sometimes it is diluted with 
water, and a little sal-ammoniac 
added. This flux is corrosive, and 
should not therefore be used for 
electrical work. The joint when 
completed, should be rubbed over 
with a damp cloth. It is used for 
copper and its alloys, zinc, bright 
iron, and to tin metals generally. 
(4) Venice turpentine, Gallipoli, 
olive oil, etc. These fluxes are 
used for Britannia metal, and 
similar metals of low melting-point. 
See also No. 2. 

SOLDER GERMAN SILVER : 
HOW TO. Cover the edges of the 
joint with killed spirits; sprinkle 
powdered pewter over, and melt it 
with a blow-pipe. 

SOLDER IRON AND STEEL: 
HOWTO. First tin the iron, using 
resin or killed spirits for the flux. 
Then clamp the pieces firmly to- 
gether in a vice, and solder to- 
gether, using a blow-pipe. If the 
joint be fairly good, it will not be 
necessary to run any more solder 
into the joint than that used for 
tinning. Asbestos should be placed 
between the vice and the iron to 
prevent too much heat being con- 
ducted away. To join small pieces 
of iron together, first clean and tin 
them, then hold them together with 
pliers, and work round the edges 
with a hot soldering iron, without 
adding any more solder. Iron or 
steel is generally brazed. (See 
BRAZING] 

SOLDER SILVER: HOW TO. 
Place small pieces of charcoal 
into an iron dish, lay the silver on 
the top, and surround the part to 
be soldered with lumps of charcoal 
slightly larger, leaving a hole for 
the blow-pipe. Use hard solder [see 
SOLDER (hard or brazing : No. 5)Jand 
powdered borax for a flux. 

SPATTER WORK. Arrange 
pressed leaves, ferns, etc., to form 
a bouquet or design on a sheet of 
good paper, and pin them down 


SOLDER GERMAN SILVER—STAIN . 


lightly with fine needles. Dip a 
tooth-brush into the required pig- 
ment, shake it as dry as possible, 
and then rub it over the bottom of a 
fine sieve, perforated zinc, or comb, 
so that the minute drops, which 
fall as a fine spray, settle on the 
leaves and paper. Work most 
over the centre, and shade off 
gradually towards the _ border. 
After the paper has a decided 
tint, the top leaf or fern may be 
removed. Now continue with the 
tooth-brush as before; after a time 
remove another spray, and so on. 
When finished, the forms of the 
leaves will be shown, those left on 
all the time will be the colour of 
the paper, whereas the leaf first 
removed will be shaded dark, and 
the leaves removed in between will 
be of intermediate shades. The 
pigments may also be varied, using 
liquid Indian ink for black, burnt 
sienna for brown, etc. Always work 
with the brush nearly dry, and after 
dipping the brush into the ink, try 
rubbing it on the perforated zine 
over a spare sheet of paper first to 
see that the spray is fine enough. 
This spatter work may be used for 
ornamenting small boxes, etc., 
which should afterwards be var- 
nished. 

SPONGES: HOW TO CLEAN. 
(1) When toilet sponges become 
sodden, and feel greasy, squeeze 
them as dry as possible, place 
them on a plate, and sprinkle 
powdered calcium chloride over 
them, After 30 mins. rinse, and 
dry. (2) Soak the sponge in a 
warm solution of 1 part hydro- 
chlorie acid to 5 parts water for 
30 mins.; then rinse it in clean 
water, and steep in methylated 
spirits for 30 mins. ; then rinse two 
or three times in water, and dry. 
[See also BLEACH SPONGES(HowrTo)] 

STAIN. It is best to stain the 
wood first, and then to varnish it; 
not mix the pigment with the 
varnish as a lacquer, for the pig- 


i A i 


‘ 


STAIN 


ment does not in that case soak 
into the pores of the wood, and 
colour the fibres. It is also better 
to make two applications of a 
medium stain than one application 
of a strong stain. The tint of the 
stain is nearly always altered after 
polishing or varnishing, so if a 
tint must be matched, a sample 
should be worked right through, 
and then the stain modified if 
necessary. 

STAIN: ANILINE. These 
stains are useful for pure colours, 
as for inlaid work, where wood is 
not to be imitated. A little vinegar 
should be mixed with the stain, 
which prevents fading to a great 
extent. The directions on the 
wrappers of the stains should be 
carefully followed. 

STAIN: BLACK. (1) Boil 2 
oz. logwood extract, 14 oz. copperas 
and a pinch of indigo in 1 qt. water, 
and apply hot. Repeat two or 
three times. Steep 2 oz. steel 
filings in 4 pt. vinegar, and give 
two applications of this on the top 
of the first stain. (2) For apple, 
pear, walnut, and all fine-grained 
woods, boil in an enamelled iron 
vessel 4 oz. ground gall nuts, 1 oz. 
logwood chips, 4 oz. green vitriol 
and 4 oz. crystals of verdigris in 
water, Filter while warm, and 
brush the wood repeatedly with it. 
Dry and brush over with a strong 
cold solution of sulphate or acetate 
of iron, and dry. Repeat several 
times, and finally dry at a moderate 
temperature; then oil or varnish. 
(3) Mix pulverised asphaltum in 
naphtha to the required shade. 
This must be kept in a corked 
bottle, and laid on quickly. Then 
brush over the wood with very 
dilute sulphuric acid, and hold it 
to the fire. The stained wood will 
receive a good polish. (4) Apply 
nitrate of silver, and expose it to 
the light. A wash of carbonate or 
bichromate of soda may be given 
afterwards, which improves the 


215 


colour, but it is not necessary. (5) 
Mix chlorhydrate of aniline with 
water, and then add a small 
amount of copper chloride. Apply 
it to the wood with a sponge, and 
when dry go over with a solution 
of potassium bichromate. (6) To 
turn oak black, boil 1 part logwood 
chips in 10 parts water, filter 
through linen, and evaporate at a 
gentle heat, until the volume is 
reduced to one half. Mix 10 to 15 
drops of a saturated indigo solu- 
tion with 1 qt. of the logwood 
water. Immerse the oak in a hot 
saturated solution of alum for 48 
hrs. Brush over the oak with the 
stain several times, and then rub 
it with a filtered and saturated 
solution of verdigris in hot con- 
centrated acetic acid. Repeat till 
the desired shade is obtained. [See 
also STAIN (OAK)} (7) Put iron 
filings in good black ink and leave 
for two weeks. Rub the stain into 
the wood and polish. 

STAIN: BLUE. (1) Boil 4 oz. 
turnsole in 3 pts. lime water for 1 
hr. (2) Dissolve indigo or china 
blue, or both, in vinegar or dilute 
sulphuric acid. The addition of 
whiting makes the stain more 
opaque. 

STAIN : BROWN. (1) Dissolve 
gum-catechu in water, and apply to 
the wood; when dry, apply a solu- 
tion of bichromate of potash dis- 
solved in water. This stain is 
suitable for soft white woods. (2) 
Mix 3 oz. of the necessary pigments 
with 1 pt. vinegar or ammonia 
water. (3) Heat the wood gently 
at the fire, and then apply dilute 
aqua fortis with a feather until 
the desired tint is obtained. When 
dry, oil and polish. This method 
is sometimes used for hard white 
wood, but not often, for it rots the 
wood. [See also Stain (CEDAR: IMI 
TATION). STAIN (MAHOGANY: IMITA. 
TION). STAIN (OAK: IMITATION). 
STAIN (ROSEWOOD: IMITATION). 
STAIN (WALNUT: IMITATION), etc.] 


216 STAIN 
STAIN: CEDAR, IMITA- Red: Boil the horn in alum 
TION. Mix 2 oz. caoutchouc and | water, then place it in a hot solu- 


1 oz. caustic soda in 1 pt. water, 
and boil the wood in it for some 
hours. Then rinse in clean water, 
and dry. If the tint be not deep 
enough repeat. This stain can 
only be applied to white woods. 

STAIN: FLOOR. (1) Dissolve 
4 oz. asphaltum and 8 oz. beeswax 
in 1 gal.turpentine. If found to be 
too thin, add more beeswax; if too 
light, add more asphaltum. (2) 
Warm glue size in a jar, roll a 
piece of calico into a ball, dip it 
into the size, then into burnt 
umber powder, and rub into the 
wood with the grain. Clean all 
grease from the boards before 
applying the stain, then rub lightly 
over with sand-paper, and varnish. 
If it be desired to stain alternate 
boards, plane a piece of thin wood 
bevel at one side. Slipthe bevelled 
edge into the crack between the 
boards to prevent the stain going 
on to the next board. This board 
is shoved along the crackas the stain 
is applied. 

STAIN: GREEN. (1) Mix 2 
oz. verdigris, } oz. sap-green and } 
oz. indigo in 1 qt. strong vinegar. 
The sap-green and indigo may be 
varied for different tints. Ifa light 
green only is required, the sap- 
green and indigo may be omitted. 
(2) Mix acetic acid with copper 
filings. 

STAIN: HORN. Black: (1) 
Steep brass in aqua fortis till it is 
turned green. Wash the horn with 
this aqua fortis once or twice, and 
then put it in a warm decoction of 
logwood and water. (2) Dilute 
nitrate of silver till it does not cor- 
rode the surface of the horn. Apply 
three or four coats at considerable 
intervals, placing the horn in the 
sun between them. 

Green: Boil the horn in alum 
water, then place it in a hot solution 
of verdigris, ammonia and white 
vinegar. 


tion of verdigris, ammonia and 
white vinegar. Then place in red 
stain. [See STAIN (RED: No. 1).] 

Tortotse-shell ; Mix and dissolve 
equal quantities of glue, lime and 
red lead in strong soap lyes. Lay 
it on to the horn with a small 
brush, imitating the mottled ap- 
pearance from some model. Repeat 
two or three times, allowing the 
stain to dry after each application 
before applying the next. 

STAIN: IVORY AND BONE. 
First polish the ivory or bone with 
whiting and water, wash off the 
whiting, and steep it for 3 or 4 
mins. in a solution of 1 part com- 
mercial muriatic acid in 40 to 50 
parts water. Remove with a pair 
of wooden tongs, rinse, and then 
dye. The ivory must not be 
touched with the fingers or any- 
thing greasy after it is removed 
from the acid bath. 

Black: Boil the ivory in a 
strained decoction of logwood, and 
then steep it in a solution of red 
sulphate or red acetate of iron. 

Blue: Dissolve indigo and potash 
in water, and then mix it with vine 
ash lye. 

Green: Mix } oz. verdigris, a 
handful of salt and a pinch of alum 
with 1 qt. strong vine ash lye; boil 
to one half, and then strain. Im- 
merse the ivory in the boiling hot 
liquid, and leave till cold, or till of 
the required tint. 

Red: Make a strong decoction 
from logwood chips or extract, and 
while hot add lead dross. Keep 
over a slow fire till the colour has 
taken, and then add a little rock 
alum. Strain through linen, and 
immerse the ivory. 

STAIN: MAHOGANY. To 
make new and pale mahogany 
appear older and of a richer tint: 
(1) Apply a solution of 1 oz. bichro- 
mate of potash in 1 qt. water with 


| a small sponge, and expose the 


hy 


STAIN 217 


wood to sunlight. The wood may 
first be oiled, but in that case the 
stain must be rubbed in very 
thoroughly. This is the method 
usually employed commercially. 
(2) Subject the wood to ammdnia 
fumes. [See STAIN (OaKk)] This 
method is perhaps the best, but 
more troublesome than No. 1. (8) 
Apply a stain made from alkanet 
root and oil. [See STAIN (WALNUT)] 
(4) Apply a solution of washing 
soda. (5) Slake quicklime in water, 
and apply the lime to the wood 
for a dark stain, or the lime water 
for a lighter stain. This method 
is useful for small repairs, but 
gives a blotchy appearance if 
applied over a large surface. 

STAIN: MAHOGANY, IMI- 
TATION. (1) First stain the 
wood lightly with walnut stain, 
and when dry go over with a solu- 
tion of Bismarck brown in water. 
(2) Mix 15 grs. alkanet root, 30 grs. 
aloes and 30 grs. dragon’s-blood in 
500 grs. alcohol (95 per cent.) ; place 
it in a bottle, and cover with a 
piece of bladder. Keep the bottle 
in a warm place for three or four 
days, and shake it up periodically ; 
then filter, and pour into a clean 
bottle. First go over the wood 
with dilute nitric acid for a mor- 
dant; allow it to dry, and then 
go over with the stain as often 
as necessary to obtain the required 
tint. If graining be required, 
imitate by the use of iron 
acetate. (3) Mix 1 pt. methylated 
spirits with 4 oz. carbonate of soda, 
and then mix in 13 oz. dragon’s- 
blood. First go over with nitric 
acid and then apply the stain as 
in No.2. (4) Dissolve 8 oz. madder 
and 2 oz. logwood in 1 gal. hot 
water. Apply the stain, and when 
dry go over with a solution of 1 
oz. pearlash in 1 gal. water on the 
top. 

STAIN: OAK. To make new 
oak appear old and of a dark tint: 
(1) Select a good packing-case, 


and glue brown paper over alli joints 
and cracks, leaving the lid loose. 
Small panes of glass may be let 
into the sides of the box so that 
the tint of the wood can be watched 
or matched. Remove all grease 
and glue from the oak, and after- 
wards handle it with a clean cloth 
or shavings. Set it in the box, 
keeping it about 1 in. from the. 
bottom, sides, and the next piece of 
oak by means of small wood blocks. 
If possible, set the oak vertically, 
as it stains best in that position. 
Place two or three small saucers in 
the bottom of the box filled with 
880 ammonia; 4 pt. ammonia being 
sufficient for 150 cub. ft. of wood. 
Screw down the lid, and glue brown 
paper round the cracks as before, 
so that the box is absolutely air- 
tight. Leave the wood for from 6 
to 12 hrs., and touch up where 
necessary with raw ammonia or 
French polish. (2) Apply a solution 
of bichromate of potash in water. 
[See Stain (MAHOGANY: No.1).] (3) 
Apply a solution of washing soda. 
(4) Apply lime water or slaked lime. 
[See STAIN (MAHOGANY: No. 5)] 

STAIN: OAK, IMITATION. 
(1) Mix whiting and ochre with 
water till it is found by experiment 
to dry the required tint. Pour off 
the clear water, and mix 3 lb. of 
the whiting and the ochre with 1 
ib. patent size, and apply. When 
dry give a second coat, and rub 
lightly down with glass-paper. Mix 
water-ground pigments with beer; 
apply it over the size, and grain 
with a stiff brush and chamois 
leather. When dry apply a varnish 
diluted with an equal part turpen- 
tine, and then grain again, if neces- 
sary. (2) Mix 2 oz. potash and 2 
oz. pearlash in 1 qt. water. (3) Add 
copperas to strong wood ash lye 
till of the required shade. 

STAIN: OIL. Any wood after 
being oiled becomes much darker 


in a shorttime. Ifthe wood is to be 


also stained or polished, the oil must 


218 


be rubbed thoroughly in, and kept 
free from dust. 

STAIN : PAPER OR PARCH- 
MENT. Apply the stain with a 
broad, soft brush, as though it 
were varnish. 

Green : Dissolve verdigris crystals 
in vinegar or water. 

Orange: Stain first pure yellow, 
and then brush over a filtered 
solution of 4 oz. pearlash or salt of 
tartar in 1 qt. water. 

Purple: (1) Tincture of logwood. 
(2) Archil. (3) The juice of ripe 
privet berries. 

Red: Mix powdered Indian lake 
in spirits of wine, and leave it for 
a few days; then strain. 

Yellow: Steep 1 oz. powdered 
turmeric root in 1 pt. spirits of 
wine. To give a redder tinge, add 
a very small amount of dragon’s- 
blood. 

STAIN: PURPLE. (1) Mix the 
blue stain and violet stain together 
till of the required shade. The 
wood should be afterwards var- 
nished. (2) Boil1 Ib. logwood chips 
in 3 qts. water for 1 hr., strain and 
add 4 oz. pearlash and 2 oz. pow- 
dered indigo. 

STAIN: RED. (1) Mix 1 hand- 
ful of quicklime and 2 handfuls of 
wood ash in water, and leave it to 
steep for4 hr. Pour off the clear 
liquid into another pot, and add 4 
lb. Brazil wood; let it steep for 4 
hr. and then boil. Let it cool a 
little ; pour the liquid into another 
pot, and add 1 oz. gum-arabic. 
Boil some alum in soft water. 
Soak the wood in this, and then 
dry it. Warm the red stain, and 
apply as many coats as are required. 
When dry, polish with a piece of 
ivory. (2) Boil 1 lb. ground Brazil 
wood in 3 qts. water for 4 hr., 

strain, and then add 4 oz. cochineal. 
Boil again gently for 4 hr., and 
leave to cool. Apply the stain with 
a small sponge, and then varnish. 
(3) Mix Venetian red in linseed oil, 
and apply it on a flannel pad, rub- 


STAIN 


bing the stain wellin. (4) Apply a 
solution of hypermanganate of 
potassa. [See STAIN (ROSEWOOD: 
IMITATION: No. 2)] 

STAIN: ROSEWOOD, IMI- 
TATION. (1) Mix 1 oz. logwood 
extract in 1 gal. water, and apply. 
Grain with a black stain or a solu- 
tion of copperas, using a fine camel- 
hair brush, or a feather and a tuft 
of wadding, ora sponge. (2) Apply 
a concentrated solution of hyper- 
manganate of potassa, and leave it 
on till the desired tint is obtained ; 
5 mins. will usually be found suffi- 
cient. On cherry the stain gives a 
rich red tint. (3) First stain ma- 
hogany, and then grain with black 
or copperas solution as No. 1. 

STAIN: VENEER. The stain 
must penetrate right through the 
veneer. Soak the veneer ina solu- 
tion of caustic soda for 24 hrs., 
and then boil for 4 hr. Wash, 
and then leave it to steep in the 
stain for 24 hrs. Lime and holly 
are the best woods for taking stain 
in veneer. 

STAIN: VIOLET. (1) Boil 4 
oz. Brazil wood, 8 oz. logwood 
chips, and 1 oz. alum in 2 qts. 
water, till all the strength is ex- 
tracted. (2) Boil 1 lb. logwood 
chips in 3 qts. water till all the 
strength is extracted, then add 4 
oz. pearlash and 2 oz. indigo, and 
strain. (3) Mix Dutch turnsole in 
water, and strain. After the colour 
is laid on, dilute the stain very 
much, and wash the wood with 
it till it becomes bright. (4) Dis- 
solve 8 oz. madder, 4 oz. fustic, 
4 oz. dragon’s-blood and 1 oz. 
common soda in 3 pts. methylated 
spirits. This makes a very dark 
purple to chocolate stain. 

STAIN: VIOLIN. (1) Boil 4 
oz. campeachy wood and 1 oz. 
turmeric root in 14 lb. water in a 
copper or earthenware vessel. No 
iron should come in contact with 
the stain. (2) Dissolve 1 oz. dra- 
gon’s-blood in 1 pt. spirits of wine. 


STAIN— 


STAIN: WALNUT. To make 
pale, poor walnut appear richer : (1) 
Steep 4 oz. alkanet root in 1 pt. 
linseed oil. Rub it well into the 
wood, and keep it for 12 hrs. free 
from dust before filling in and 
polishing. (2) Dissolve 2 oz. as- 
phaltum in 1 pt. turpentine, -or 
wood naptha. 

STAIN: WALNUT, IMITA~ 
TION. Chestnut makes the best 


imitation walnut, then sycamore,. 


and then lime. (1) Boil 4 0z. wash- 
ing soda, 24 oz. vandyle brown and 
4 oz. bichromate of potash in 1 qt. 
water for 10 mins., and then strain. 
(2) Mix equal parts vandyke brown 
and burnt umber to a paste with 
ammonia or ale, and thin to the 
required consistency with water. 
(3) Mix 1 lb. burnt umber, 8 oz. 
rose pink and 8 oz. vandyke brown 
in 1 gal. strong vinegar. (4) Dis- 
solve 4 oz. asphaltum in 1 pt. 
turpentine or wood naphtha. If it 
be desired to bring out the grain 
still more strongly, give a coat of 
boiled oil and turpentine. 

STAIN: YELLOW. (1) Heat 
together and mix 3 oz. tallow, # oz. 
wax and 1 pt. turpentine. This 
stain is usually applied to oak, 
rubbing it in well in a warm room. 
(2) Rub the wood with turmeric, 
or French berries, or saffron, or 
merita earth. (3) Mix a_ small 
piece of aloes in the varnish that 
is to be applied. 

STAINS: TO REMOVE ACID. 
If the stain be still wet, sponge it 
with ammonia; but if it be dry, tie 
some pearlash up in the stained 
part; scrape some soap into the 
soft water, and boil till the stain 
is removed. 

STAINS: TOREMOVEAPPLE. 
Hold the stained cloth over a vessel, 
and pour boiling water on it slowly, 
letting the water filter through. If 
not removed, dissolve a few grains 
of oxalic acid in 4 pt. soft water, 
and dip the fabric in two or three 
times till the stain is removed. 


STAINS 219 


STAINS: TO RENIOVE FRUIT. 
Moisten the cloth, and hold it over 
a piece of burning sulphur; then 
wash thoroughly. To remove fruit 
stains, dyes, blacking, etc., from the 
hands, mix a few drops of sulphuric 
acid with the water. 

STAINS: TO REMOVE 
GREASE. Fabrics: (1) Sprinkle 
French chalk on the wrong side of 
the cloth, and allow it to remain 
for 24 hrs. Split a visiting-card 
down the middle, lay the rough 
side next to the powder, and iron 
with awarmiron. White blotting- 
paper or brown paper may be sub- 
stituted for the split visiting-card. 
(2) Mix perfectly dry fuller’s-earth, 
lemon juice, and a little pearlash 
or saleratus, and knead them to- 
gether till as a thick elastic paste; 
then expose tothe suntodry. To 
use, moisten the stain with water, 
rub it with the ball, wash with 
water, and dryin thesun. (3) Mix 
1 oz. essence of lemon with 3 oz. 
turpentine, and mix and apply as 
No. 2. (4) To remove a big splash 
of thick grease, lay the material 
on 6 or 8 thicknesses of clean, soft 
paper, such as newspaper, and dab 
the stain with a soft cloth and clean 
lard, frequently changing the place 
on the paper. Soon only lard will 
be left on the material, which can 
be removed in a similar way by 
dabbing with soap and alcohol. 
Finally lay the material on a clean 
cloth, and rub with a soft one to 
remove the soap and alcohol. 5) 
Mix the yolk of an egg with a little 
warm water, and rub it wellin with 
a soft brush. Wash off with warm 
and then cold water. If necessary 
repeat when dry. (6) Rub the spot 
with a flannel dipped in turpentine 
or ammonia water. 

Paper: Cover the paper or 
parchment with hot pipe-clay, and 
place under pressure for some 
hours. 

Wood: (1) Mix fuller’s-earth and 
soap lees, and rub the mixture into 


- water. 


220 


the wood ; let it dry, and then scour 
it off with soft soap and sand or hot 
lees. (2) Pour a little turpentine 
on the spot, and leave for about 10 
mins. ; then spread soft soap over 
it, and leave for a few minutes 
longer. Pour boiling water on, and 
scrub with a brush, and wipe dry. 
If not removed, mix fuller’s-earth 
with the soft soap, and repeat. 

STAINS: TO REMOVE INK. 
Carpet: (1) If the stain be fresh, 
pour milk over the spots, and dry 
with a sponge; repeat till the milk 
is not blackened, and then wash 
away the milk with cold water. (2) 
If the stain be old, dampen it with 
dilute oxalic or hydrochloric acid, 
and dry with white blotting-paper. 
Care must be taken to wet only the 
ink, for the acid loosens the dye. 
If the dye begin to run, rinse in 
warm water, and then dip it in a 
solution of 6 drops ammonia to 1 
qt. water as quickly as possible. 

Cloth: (1) If fresh, wet the place 
with lemon juice or vinegar, and 
the best hard white soap, and then 
rub thoroughly. (2) Saturate with 
turpentine, and leave for 2 or 3 
hrs. ; then rub between the hands. 

Engravings: Dissolve 14 oz. 
washing soda in 4 lb. water. Dis- 
solve 4 oz. chloride of lime in 4 lb. 
water, and then mix it with the 
soda solution. Soak the engrav- 
ing in the mixture’ for 15 mins. ; 
then wash, and then place it ina 
solution of 1 part hydrochloric acid 
to 10 parts water for 15 mins., 
finally rinse in running water for 
15 mins., and dry. 

Floors: Scour with sand damp- 
ened with hydrochloric acid and 
When removed, rinse with 
strong pearlash water. 

Furniture: (1) Wipe the spots 
with oxalic acid, and let it stand 
a few minutes; then rub them with 
a cloth dampened with warm water. 
(2) Put a few drops of nitre in a 
teaspoonful of water, and touch 
the stains with a feather dipped in 


STAINS 


this; then rub the spots immedi- 
ately with a damp cloth. 

Hands: Rub the spots with grease 
or animal oil, and then wash with 
soap and warm water. If the ink 
be well ground into the pores, use 
a little diluted lye and fine sand. 

Ivory: Rub the stains out with 
oxalic acid, and then polish with 
whiting and oil. 

Linen: Immerse the stained por- 
tion in boiling tallow, and when cool 
wash out in soap suds. 

Marble: Dissolve 4 oz. butter of 
antimony and 1 oz. oxalic acid in 
rain water, and then add sufficient 
flour to bring it to a paste. Lay it 
over the stain, and leave for a few 
days. If necessary repeat. 

Paper: (1) Lay a pad of clean, 
white blotting-paper under the 
paper behind the stain.. Moisten a 
small sponge in lemon juice, and dab 
the stain carefully so as to dampen 
the spot; then make a pad of clean 
muslin, and dab the wet stain. 
Repeat this over and over again, 
shifting the position of the blotting- 
paper each time, and do not rub 
the lemon juice in. If lemon juice 
alone fail, add salt, then hydro- 
chloric acid and water, and as a 
last resource a mixture of a 
teaspoonful acetic acid with 1 
oz. lime water. (2) A fresh ink 
spot from good paper by rubbing 
with a mixture of saltpetre, sulphur, 
alum and pumice powder. If the 
ink stain be old, first damp it. 

Type: Apply wood-ash lye with 
a brush. If concentrated, put 1 lb. 
lye to 5 gals. water. If the surface 
be too uneven for the lye, use ink- 
eraser. 

STAINS: TO REMOVE LIME. 
Mix 1 tablespoonful ammonia in 1 
gal. water, and apply it to the cloth. 
If wood gets spotted while plaster- 
ing, allow the stain to dry; then 
remove it with coarse sand-paper, 
and polish with fine. 

STAINS: TO REMOVE MIL- 
DEW. (1) Mix 2 parts soft soap, 


STAINS—STARCH 


2 parts starch, 1 part salt and the 
juiceofalemon. Lay itonthe stain 
with a brush, and lay the article 
out on the grass day and night till 
the stain disappears. (2) Mix 1 
teaspoonful lime in 1 qt. water, 
strain and dip the fabric in. Ifthe 
stain does not disappear, lay the 
cloth out in the sun, or dip it a 
second time. Rinse thoroughly 
when the mildew is removed. 
Care should be taken not to make 
the lime water too strong, or the 
cloth will be damaged. (3) If the 
mildew be on muslin, or similar 
material, wash it in hot chlorine 
water, or spirits of hartshorn. (4) 
Apply sour butter-milk and lemon 
juice, and then rinse. (5) To 
prevent mildew on large coarse 
cloths, such as sails, soak the cloths 
in hot soap suds, press out the 
excess, and then immerse them in 
strong alum water, or in a weak 
lead acetate solution. Rinse, and 
repeat the soap if necessary. 

STAINS: TO REMOVE 
PARING, To remove stains from 
paring, rub the hands with the 
inside of apple or pear parings 
before using soap. 

STAINS : TO REMOVE PICK- 
LING. Toremove pickling stains, 
wash the hands, and dry slightly ; 
then strike a sulphur match, and 
hold the hands over and around it 
to catch the fumes. 

STAINS: TO REMOVE TAR. 
To remove tar stains, rub with 
fresh lemons, orange peel or 
butter. 

STAINS: TO REMOVE TEA. 
Mix 1 tablespoonful salt in 1 tea- 
cupful soft soap; rub it on the 
spots, and spread the cloth out in 
the sun. Leave for a few days, 
occasionally wetting the spots, and 
then wash. If the spots reappear 
on washing, repeat the process. 

STARCH: CALICO. Makea 
strong tea of fig leaves, and mix 
the starch with it. Wash the 
print in three waters, and rinse in 


221 


the fig-leaf water. When nearly 
dry, fold the fabric, and leave for 4 
hr.; then iron. 

STARCH: POTATO. Wash 
the potatoes very clean, grate them 
fine, and wash as much as possible ; 
then strain the whole through fine 
muslin, using plenty of water. Let 
the starch settle to the bottom of 
the vessel until the water becomes 
clear. Pour off the water gently, 
and the starch will be found in a 
solid mass at the bottom. If there 
be any impurity or slime on the 
top of the starch, it must be care- 
fully removed. When the starch 
has been thus cleaned, stir it up in 
fresh water, let it settle, and then 
remove any impurity as_ before. 
This will usually be sufficient, but 
it may be necessary to repeat the 
washing a third time. When the 
starch is clean, take it out, and 
make it up into small tablets, about 
3 in. square, with the hands, or if 
it be not stiff enough, pour the 
starch into cotton bags, and hang 
them up to drain, and then make 
into tablets. Set the tablets on 
clean, dry bricks, and let them 
remain there till the bricks have 
absorbed all the moisture. Then 
place them in the sun in a good 
draught, when the tablets will fall 
into crystals, These crystals may 
be made up into starch in the 
ordinary way, and will keep well. 

STARCH : WHEAT. (1) Soak 
best quality wheat in water till 
quite soft; then crush the grains 
on a smooth, flat board little by 
little, till they have all burst. 
When all are crushed, mix the 
pulp with water to a thick paste, 
and leave until quite sour. Then 
wash, it in small quantities at a 
time through a very fine sieve. 
The starch will strain through 
with the water, the remaining solid 
part to be thrown away. Leave 
the starch for about 12 hrs. to 
settle as a solid cake at the 
bottom; carefully remove _ the 


222 


clear water on the top, and any 
impurities there may be on the 
surface. Stir the starch up again 
with water, leave it to settle, 
decant the clear liquid, and remove 
impurities as often as necessary. 
To obtain the crystals, cut up 
into tablets and dry. [See STARCH 
(PoTaTo)] (2) Have the wheat 
ground, but not bolted. Put it to 
soak in plenty of water, and leave 
it to ferment. Then put it into 
thin bags, and squeeze all the 
milky substance out, so that 
nothing but the bran remains in 
the bag. Strain this milky fluid 
through thick woollen, and then 
leave it to settle. To purify and 
crystallize, see STARCH (POTATO). 
STENCILS. Draw the design 
on good cartridge paper, or on the 
oil paper used in a copying letter- 
press; place it on a sheet of glass, 
and cut it out. More ties should 
be left than if the stencil were cut 
in metal. Finally, if cartridge 
paper be used, give it a good coat- 
ing of oil varnish or paraffin wax. 
STILTS. Cut the 
poles from hard wood 
1} in. square x 6 ft. 
long, and _ slightly 
chamfer the edges. 
Dress out the {foot- 
piece from sound 1- 
in. pitch-pine. Make 
the top of each foot- 
piece 43 in. broad, 
letting the last 4 in. 
rise up about § in. to 
prevent the foot slip- 
ping off sideways, 
and 6 in. deep; and 
use two screws 2% to 
3 in. long to attach 
each on to its pole. 
The bottom of the 
pole may be shod 
with a few thick- 
nesses of shoeleather 
to give a good grip 
and to lessen the jar. 
The nails should be 


STENCILS—STORE VEGETABLES 


driven well in, so that the heads 
do not touch the ground, 

STONE: TO CLEAN. Boil 
1 lb. pipe-clay in 3 pts. water and 
1 qt. vinegar, and then add a bit of 
stone blue. Wash the stone with 
this mixture, and when dry, rub 
with a dry flannel and a medium 
brush, and then sweep off the fine 
dust. [See also MARBLE (How TO 
CLEAN) | 

STOPPERS: TO REMOVE 
GLASS. (1) Hold the bottle or 
decanter by the neck with the left 
hand, and place the first finger at 
the back of the stopper. Tap the 
decanter lightly with a piece of 
wood, first on one side and then 
on the other, turning the bottle 
slowly round. (2) Wind a piece of 
rough string once round the neck 
of the bottle. Attach one end of 
the string to a hook, hold the other 
end with the left hand pulling the 
string tight, and with the right 
hand work the bottle smartly back- 
wards and forwards for a few 
seconds until the neck of the bottle 
has become hot. Most probably 
the stopper will come out, but if 
not, tap as No. 1. (3) Bind a cloth 
dipped in boiling water around the 
neck. Then hit the stopper as No. 
1. (4) Puta few drops of oil around 
the base of the stopper, and set the 
bottle near a fire. When it gets 
warm, strike the stopper as in 
No. 1. (5) Put a few drops of 
glycerine around the base of the 
stopper, and leave for a few hours. 

STORE VEGETABLES AND 
FRUIT: TO. The shed should 
be constructed so as to have a dry 
atmosphere and a cool, even tem- 
perature free from frost; it should 
be easily ventilated when neces- 
sary, by means of a skylight with 
a shutter in the roof; and a free 
circulation of air must be ensured 
round the shed. Make the shelves 
for storing fruit with strips of 
chamfered boards nailed on, so 
that air may circulate round each 


STORE VEGETABLES 


individual fruit. lf, however, for 
want of space the fruit has to be 
stored in mass, it should be picked 
over periodically, and the unsound 
ones removed. 

Beans: Spread the beans out 
in a dry room until most of the 
moisture is evaporated; then store 
in sacks. If necessary to store in 
boxes or barrels, they should fre- 
quently be changed from one barrel 
to another, to bring those which 
were at the bottom on the top to 
dry. 

Cabbages: Set the cabbages in 
rows upon the ground heads down, 
and two or three abreast; smooth 
the leaves, and crowd them tightly 
without crushing them at the 
bottom. Cover with soil on each 
side and at the ends from 4 to 6 
in. deep. If the cabbages be quite 
loose, or unripe, dig a trench as 
deep as the roots are long. Set 
the roots in the trench, so that the 
heads are above ground. Fold the 
leaves carefully over the hearts; 
bind them in place with bast, and 
cover them with soil deep enough 
to prevent freezing. The cabbages 
may be taken out as desired from 
February to May, and they will be 
well blanched. (2) Strip off the 
outside leaves, and pack the hearts 
in barrels, filling up the spaces left 
with damp, but not wet, chopped 
straw. Only sound and hard heads 
should be thus stored. 

Celery: (1) On a dry November 
day dig a trench 9 in. wide, and 
as deep as the celery is tall, in a 
dry piece of ground. Dig away 
the earth from the sides of a row 
of celery, and take up the plants 
carefully with as much earth at- 
tached to the roots as_ possible. 
Set them close together in the 
trench, and sift in only just enough 
earth to cover the roots, and make 
all firm. The leaves should not 
project more than 2 in. above the 
top of the trench. Cover the tops 
lightly with dry leaves, and cover 


223 


all with two boards nailed together 
as a roof to shed off rain. After 
one or two weeks, remove the roof, 
and pile up leaves and straw about 
1 ft. high; press firmly down, but 
not hard enough to crush the celery, 
and at the sides place some loose 
earth, beating it smooth with the 
shovel to carry off wet, and then 
replace the board roof. Remove 
the celery from one end as re- 
quired, and plug up with straw. 
(2) Pack a barrel let into the earth 
[see CELLAR (CASK)] with the celery, 
without any soil. (3) For present 
use, mix about 3 in. of wet mud 
in the bottom of a box or barrel. 
Dig up the celery, keeping as much 
earth on the roots as possible, and 
place the plants upright side by side 
in the mud, as closely as possible. 
Cover the top with a piece of sack- 
ing. The celery thus stored will 
keep for about a month. 

Grapes: (1) To store small quan- 
tities of grapes, hang the bunches 
up in a box laid on its side from 
hooks, taking care that no two 
bunches press against each other, 
Bad fruit should be picked off the 
bunch immediately. (2) To store 
larger quantities, suspend a barrel 
hoop from a hook in the ceiling by 
three cords. Attach another hoop 
to the first about 2 ft. lower down 
with cords, and so on till enough 
hoops are spaced. Attach the 
grapes to the hoops by strings. It 
is an advantage to have the hoops 
of different sizes. The grapes 
should be looked over periodically, 
and the bad ones removed. (3) 
Pick the grapes into shallow wicker- 
work baskets, and place them ina 
well-ventilated loft for two or three 
weeks. Then pick them over, and 
remove any bad fruit. Place the 
bunches in shallow boxes or draw- 
ers, two layers deep, with cotton- 
batting, between and on the top, 
and keep in a cool place. Dry 
sawdust or corkdust may be used 
instead of cotton- batting. 


224 


‘Peaches: Peaches may be kept 
for several weeks if thoroughly 
enclosed in fine dry sawdust. 

Turnips, Beets, etc.. lf stored in 
a cellar, bank 5 bushels, and then 
cover with earth. If stored in the 
open, 10 to 20 bushels may be 
banked together. 

STUCCO... Stucco is made by 
mixing plaster of Paris with a 
solution of gelatine or glue instead 
of water. When the plaster has 
bardened, moisten the surface, and 
rub it down with pumice stone till 
quite smooth Finally coat the 
surface with a concentrated solu 
tion of gelatine, applying it with a 
brush, as though it were varnish; 
when perfectly dry, polish with 
tripoli on a buffer or pad. 

STUMPS: HOW TO BLAST. 
Bore a 14-in hole 3 ft. or more deep 
down the centre of the stump or 
log. Put in } lb. coarse powder, 
and then set in one side of the 
hole a wheat straw filled with fine 
powder, which should project 1 in., 
for a fuse. Partly fill the hole 
with dry sand, and tamp it down 
thoroughly; repeat two or three 
times till the hole is filled. Soak 
a piece of string in saltpetre, take 
it out, and when dry light it to see 
if it smoulders when lit, and if so, 
put it out. Wrap one end of this 
round the straw, set light to 
the other end, and withdraw toa 
place of safety. If the log be on 
its side, withdraw from it end on. 

STUMPS: HOW TO BURN. 
(1) In autumn bore a hole down the 
centre of the stump about 18 in. 
deep, and put in from 10 to 20 oz. 
saltpetre, depending on the size of 
the stump. Fill the hole up with 
water, and then plug it up tight. 
In the spring take out the plug, 
and pour in 1 gill to 4 pt. crude 
petroleum, and ignite it. The 
stump will then smoulder away 
entirely. The stump must be moist 
when the saltpetre is put in. (2) 
Bore four 1}-in. holes in the top 


STUCCO—SUMMER-HOUSB 


of the stump 8 in. deep, leaning 
the brace outwards at an angle of 
45°, Fill ? full with black machine 
oil, and plug up tight; also pour 1 
gill on the top, and let it spread 
well, In about a week set the 
stump alight. (3) Pile dry com. 
bustible materials round and over 
the stump, and cover with turf, 
forming a small kiln. A _ slight 
excavation should be made between 
two large roots, and filled with 
dry shavings and wood. Set the 
shavings alight. In a few days, 
when the turf falls in, the stump 
will have been consumed. 
SUGARING FOR NOTHS. 
Boil 1 lb. very dark Jamaica sugar 
or India dabs in 4 pt. beer, and 
when cold, and just before applying 
it to the tree, add a wine glassful 
of rum. Apply the sugaring on 
rough barked trees with a paint- 
brush in narrow strips from 3 to 
6 ft. from the ground, or dip 
strips of cotton into the liquid, and 
pin them in place on the tree 
trunks. In fields the prominent 
heads of thistles and flowers 
should be painted. After about 3 
hr., hold the net under the sugar- 
ing, and turn a lantern sharply on. 
Some moths may immediately drop 
into the net, and those remaining 
may be gently flicked off into chip 
boxes or a killing bottle. Moist, 
sultry nights are the best; moon- 
light nights are useless. 
SUMMER-HOUSE. Strike out 
a circle on the ground from 6 ft. 6 
in. to8 ft. 6in. in diameter. Divide 
the circumference into eight equal 
parts, and at each point drive in 
a post made from a young fir tree, 
about 5 in. diameter at the bottom 
and about 34 in. diameter at the 
top, or if these cannot be obtained, 
use 4 in. x 4 in. pitch-pine. Be- 
fore setting in the posts or poles, 
tar the ends. [See Gate-Posts.] 
Cut these corner posts off from 6 
to 7 ft. from the ground, using a 
straight-edge and spirit-level. Now 


SUMMER-HOUSE 225 


connect the tops with 4 in. x | one side being opposite to each 
1? in. pitch-pine, making half-| corner post. Cut eight pieces of 
joints, and pinning through on to | wood 3 in. x 1 in. x from 5 to 7 
the top of each post, as shown in | ft. long for the roof beams. Slant 
Fig. 1. There are two common | one across from a corner post, 
methods of building the roof beams: | leaving about 1 ft. projecting for 
(1) On two opposite posts erect | eaves, on to one of the flat sides 
beams 3 in. x 1 in., making a flat | cut on the top of the centre post, 
inverted V, as shown in Fig. 2, | asshown in Fig 4; spike it in place. 
leaving about 1 ft. projecting for | Repeat on the opposite side, then 
eaves. Make all three joints a | thetwoat right angles, and then the 
good fit, and spike firmly together. | four in between, as in No. 1.. The 
On the two posts at right angles | centre post may be used as the 
to these erect two beams slanting | centre for a table inside, or it may 


Rm 


up to the peak already made by | be cut away a few inches below 
the first two roof beams, and | the roof, and an ornament attached, 
terminating with a flush joint | or a basket of flowers hung from it. 
against them; spike firmly in | The framework is now complete, 
place. On the four intermediate | and the roof may be thatched [see 
posts erect beams to the peak, | Roorinec (THatTcH)], or any roofing 
and one end of each fitting into the | may be used, but thatching is 
corner there; spike firmly in place. | coolest in summer. Five sides are 
This method of jointing is shown | preferably covered with rustic work, 
in Fig. 3, which is a view looking | and creepers planted to climb up, 
down on the top of the peak. (2)|or boarded up. Two sides are 
Drive a post into the ground in | similarly covered only half-way up, 
the centre of the house, leaving | the top being left open for windows ; 
it about 10 ft. above the ground. | the ee side being left open 
Cut the top of the pole eight-sided, | fora door. Boarding is preferably 


15 


226 


put on horizontally, allowing the 
corner posts to show on the outside. 
The floor may be made from 1-in. 
square boards in eight sections, 
The boards in each section being 
about }~ in. apart, and running 
parallel to the corresponding side 
of the house, and getting shorter 
and shorter towards the centre. 
Or the floor may be made by 
covering the earth with 2-in. stones 
and then 2-in. gravel. 

SURFACE PLATE. Cut three 
pieces of glass 6 in. x 6 in. x 4 
in., or larger if desired. Cover 
the first piece with oil and emery, 
and rub the second piece over it 
with a small circular motion. Now 
rub the second piece on the third 
with emery and oil in between, and 
then the third on the first, till any 
piece will touch either of the others 
all over. Then polish by filing a 


KKK 


\S> SKK 


LLL htt 


piece of an old oil-stone to powder, 
and substituting it for the emery. 
Cement the two best pieces in a 
frame, such as the one illustrated, 
with plaster of Paris, having pre- 
viously bevelled or rounded off the 
edges. Keep the third piece for 
rough work, or to reface, when the 
_ plates get worn. Good plate glass 
is a surface plate without being 
worked at all. 


TABLE: SMALL OUTDOOR. 
(1) Place a weight inside a flour 
barrel, nail on the cover, and then 
nail on a 1 in. board 2 ft. x 3 ft. 
Paint, varnish or cover the table | 


SURFACE PLATE—TAN SKIN 


with American cloth. (2) For small 
circular tables, barrel heads may 
be used. 

TAN SKIN: HOW TO. Bark 
tanning is a process that belongs 
to the professional tanner. A few 
home receipts are given, which 
will keep the leather strong and 
flexible, provided it is kept dry. 
(1) If the fur be greasy, add 1 
tablespoonful soda to 3 gals. strong 
suds, and wash the skin in it. Con- 
tinue washing the skinin fresh suds 
till clean. Dissolve 2 oz. alum and 
2 oz. salt in 1 pt. boiling water, and 
when cold put the skin in and 
leave it for 12 hrs.; then hang it up 
to drain. When nearly dry, stretch 
the skin out, and nail it hair side 
down. Rubin a mixture of equal 
parts alum and saltpetre till the 
skin will not take any more, and 
keep on rubbing it in periodically 
for 3 hrs. Now take out the nails, 
and fold it up skin sides together, 
and hang it up for two or three 
days, rubbing fresh salt and alum 
in every day. Then clean away 
all impurities with a blunt knife; 
rub the skin down with pumice 
stone, and comb out the fur. This 
process is especially suitable for 
large skins, such as sheep skins. 
(2) Wash the skin in water, and 
then scrape it clean with a blunt 
knife. Mix 2 oz. alum, 13 oz. salt 
and 14 oz. wheat meal with sour 
milk to form a paste. Rub this 
paste well into the skin side till 
the skin will absorb no more; then 
spread it on as paint, fold the skin 
up fur side outwards, and place it 
in a cool place. After about 24 
hrs. rub it well in and spread on 
another layer, and so on, repeating 
six or seven times once a day. On 
the third and sixth day the skin 
should be washed and _ half-dried. 
After the last application, wash in 
running water, drain, and when 
dry, brush over the skin side with 
a strong solution of alum in water. 
Hang up to drain and dry, and 


TAR PAINT 


227 


then soften it by pounding it with | roll, and place it in a dry place. 


a wooden mallet, working with the 
hands, and finally rubbing the skin 
side with pumice stone. (3) Remove 
all fat and flesh from the skin, and 
then wash it in a solution of soda 
and water. Mix 4 oz. pulverised 
alum, 8 oz. salt, 1 qt. new milk and 
1 pt. prepared starch in 4 gals. soft 
water. Put in the furs, and air 
them often by hanging them over a 
stick laid across the tan tub, so 
that they will drain back into the 
tub. After a few days of this treat- 
ment, remove the skins, and add 
4 teacupful sulphuric acid to the 
liquor; stir well, and replace the 
skins. Stir up pretty often for 1 
‘hr., then take them out, wring, 
and rinse in luke-warm soft water. 
Hang the skins up in a cool place 
to dry, and when they begin to 
turn white, work and stretch them 
till they become dry. Very large 
and thick hides should be kept in 
the liquor three or four days. (4) 
Boil 2 oz. alum and 2 oz. salt in 1 
pt. water. Nail the skin fur side 
down, and apply the liquid when 
hand-warm with a flannel pad. 
Now turn the edges up, and pour 
some liquid into the middle, so that 
it is retained. Leave it thus for 
three or four days, and then hang 
it up to dry. When nearly dry, 
keep testing acorner, till on pulling 
it crossways it comes out white 
and soft like a kid glove. Then 
work the skin with the hand, beat 
it thoroughly, and work it over the 
back of a chair; when soft, rub 
over the skin with pumice stone, 
and brush the fur with a stiff brush. 
This process is particularly suited 
for medium-sized skins, such as 
cats, dogs, or rabbits. (5) Tack 
down the skin fur downwards, and 
remove every particle of flesh with 
a blunt knife. Rub with powdered 
chalk till no more will adhere, and 
then sprinkle over it powdered 
alum plentifully. Take out the 
nails, roll the skin up into a tight 


After four or five days shake out 
the superfluous powder, give the 
skin a good switching and brush 
the hair. This process is particu- 
larly suitable for small skins, such 
asrator mole. (6) To dress skins 
which have been previously sun 
dried, and are board hard: Mix 1 
lb. alum, 4 oz. salt and 4 peck 
bran, and pour over them 1 gal. hot 
water. Leave the liquor to cool, 
and when hand-warm sponge the 
skin side till soft. Now shave and 
break the inner fibres with a cur- 
rier’s knife. Fold it up skin outside, 
and sew round the edge with a few 
stitches. Cover the skin with 
lard, or rancid butter, rub it well 
in with the hands, and then place 
the skin in a vat, and tread it well 
in with bare feet till quite soft. 
Remove the skin from the vat, cut 
the stitches, and scrape the skin, 
To clean the hair, rub it in sawdust, 
then shake and beat it with aswitch. 
Finally brush the fur with a light 
wire, and then a stiff bristle brush. 
(7) For lashes, etc., thoroughly 
clean the skin, and then bury it in 
wet ashes or soft soap for two or 
three days, until the hairs start. 
Remove all the hairs, soak and 
wash thoroughly. Dissolve 4 lb. 
alum and 1 lb. salt in 4 gals. soft 
water. Immerse the skins in this 
for about 12 days, take it out, and 
work it thoroughly till dry. (8) 
For leathers, mix quicklime with 
water, allow it to settle, and pour 
off the clear liquid. Soak the skins 
in this lime water for about 10 
days, or until the hair can be easily 
removed; then soak and wash till 
all the lime is taken out. Mix 4 
oz. alum and 8 oz. salt in 4 gals. 
water, and soak the skins for two 
or three days in this liquid. Take 
them out and hang them up to 
drain. When half dry, rub and 
work the leather till it becomes dry. 

TAR PAINT. (1) Place 3 gals. 
tar over a slow fire, and after it 


228 


has simmered for about 4 hr., mix 
in a handful of quicklime. Take 
the paint off the fire, stir in 1 qt. 
wood naphtha, and apply it hot. 
(2) Boil 5 lb. gas-tar for 2 or 3 
hrs. very gently over a slow fire, 
and then allow it to cool to about 
100° Fahr. Warm up 1 Ib. mineral 
naphtha to 100° Fahr. in a water 
bath, and mix the two together. 
It should be remembered that 
naphtha at that temperature must 
be kept away from naked lights. 
(3) Heat and mix 10 gals. coal-tar, 
2 Ib. tallow, 8 oz. resin, 1-lb. lamp- 
black and 10 Ib. freshly-slaked 
lime. This varnish applied hot is 
often used for iron pipes, etc. (4) 
Warm and mix a little pitch with 
the gas-tar, and when cool enough, 
thin with turpentine. (5) Heat 
and mix 4 lb. coal-tar, 1 lb. resin 
and 1 lb. asphaltum. Apply cold. 
[See also ROOFING (TAR)} 

TARPAULIN. Before apply- 
ing the waterproof mixture, the 
material must be _ thoroughly 
washed to remove all starch or 
‘wading ’’. 

Stretch light materials on frames, 
slightly damp them, and then 
apply the mixture as paint. (1) (a) 
Immerse the material loosely in 
boiled linseed oil, and then hang 
ituptodrainanddry. Ifnecessary, 
dip it again when the first applica- 
tion is thoroughly dry. (d) Im- 
merse the material in double 
boiled linseed oil coloured with 
ochre brown or vegetable black. 
Hither (a) or (b) is a common 
method for preparing cheap oil- 
skin. (2) Dissolve 1 part gutta- 
percha in 10 parts benzine, and 
then pour it over, and mix it with 
10 parts linseed oil varnish. This 
may also be used to cement the 
material together. (3) Steep the 
cloth in a solution of 15 parts 


TARPAULIN—TEMPERING 


the cloth in this mixture for several 
hours; wring it out, and hang the 
cloth up todryinthe air. Dissolve 
13 oz. alum and 15 oz. salt in 1 gal. 
water, and immerse the material 
in this mixture before it gets dry 
from the first immersion. Then 
rinse it in clear water, and hang 
it up to dry in a room at about 80° 
Fahr. (5) Immerse the cloth in 
a solution of 1 part soap in 5 parts 
water; then in another solution 
of 1 part copper sulphate in 5 parts 
water. This dressing is often used 
for tents, etc. (6) Boil 3 oz. yellow 
soap in 1 pt. water, and while hot 
add 2% lb. yellow ochre, 1 oz. tere- 
bine and 3 pts. boiled oil. This 
preparation is often used for tents, 
etc. (7) Boil 1 Ib. litharge, 1 Ib. 
lampblack and 14 oz. umber in 12 
gals. linseed oil for 24 hrs. Apply 
as a paint in thin coats. This 
preparation is often used for the 
awnings over carts, etc. (8) Mix 
boiled Stockholm tar with whale 
oil. This preparation is used for 
very rough and heavy materials, 
one coat being sufficient. 
TATTING: HOW TO WASH. 
Sew a piece of flannel over a bottle, 
and wrap the tatting evenly over it, 
and carefully tack each row. Sew 
a piece of thin muslin over, leaving 
it long enough to tie over the top 
and bottom; sink it ina basin of cold 
water, and let it soak over night. 
Cut up white soap into shreds 
and stew them with the tatting. 
If the tatting does not seem clean, 
pat the bottle with the hand, add 
more soap and stew again. Rinse 
in cold water, and put to dry near 
the fire, or in the sun. [See also 
Lace (To WasH)] 
TEMPERING. Take for 
example a chipping chisel. Polish 
a portion of it near the cutting 
edge on a grindstone, or with a 


caoutchouc, 1 part tallow and 1 piece of emery cloth. Place the 


(4) 


part slaked lime or pipe-clay. 


bottom half in a coke or wood fire, 


Soften 4 oz. glue, add 2 oz. soap | and leave it there till it is cherry 


and dissolve itin 1 gal. water. Boil 


red. Care must be taken not to 


pered again. 


TEMPERING 


let it get white hot, or it may 
“burn”. Take it out, and quickly 
immerse about the bottom inch in 
cold water till it is black, leaving 
a band of red or very hot material 
an inch or two above. Now quickly 
rub over the part previously 
polished with a piece of rotten 
stone, pumice stone, or scythe 
stone, till it appears bright. Watch 
this bright part, and as the heat 
travels down, it will first turn pale 
yellow, then darker yellow, then 
brown, and finally blue. Immedi- 
ately the dark brown colour 
appears, immerse the bottom inch 
in cold water, and leave it in till 
it has stopped sizzling, then im- 


“merse the whole of the chisel and 


stir it round till it is cold. To 
temper other tools, immerse them 
the second time, when the bright 
part turns to the correct colour. 
A table is appended with the 
different colours for the different 
tools, the temperature correspond- 
ing to that colour, and the alloy 
which melts at that temperature. 
It will be obvious that it is only 
the last 4 in. or so of the tool 
which is at the proper degree of 
hardness, and when that is worn 
or broken off, the tool must be tem- 
To temper a number 
of small articles, or larger 
articles to the same hardness all 
over, place all into an iron box 
in a hollow fire; make all cherry 
red, and then plunge the box 
and its contents into cold water. 
Grind a patch on the end of each 
of them, and place them on a red- 
hot bar of iron. 
patch turns the correct colour, 
flick the article off into a pail of 
water. To temper taps, dies, 
rimers, etc., slightly heat in a 
gas flame, and smear all over with 
a mixture of lampblack and Castile 
soap. Fill up a piece of gas barrel 
with the tools end on; sift char- 
coal dust to fill up all interstices, 
and cover the ends up with clay. 


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Place in a fire till all is a cherry 


When the bright , 


red, then knock off the clay from 
one end and let the tools drop 
end on into a solution of chloride 
of sodium and nitrate of iron in 
water at a temperature about 60° 
Fahr., and leave them in for 20 
mins. After being made glass 
hard, the tools may be tempered 
on hot iron, as explained before. 
To temper spiral springs, put them 
in a gas barrel of just a working 
fit; heat the whole to cherry red, 
and then drop it into sperm oil 
end on. When cold take the springs 
out, and hold them with a pair of 
tongs over a flame till the oil 
burns; then plunge them into cold 


water. The amount of oil to be 
r 


230 


burnt off depends on the size of 
the spring, and the desired temper. 
If all the oil be burnt off, the spring 
will most probably be too soft; if 
none be burnt off, too hard. Some- 
times the spring with the oil burn- 
ing on it is plunged into a tub of 
.cold water with a layer of oil 
floating on the top: If rings or 
patches of hard metal be required, 
bind wet clay over the parts which 
are to remain soft with steel wire, 
and then heat very quickly. Plunge 
into cold water, and temper as 
before. The clay rings or patches 
must not of course be too small 
‘or narrow. To temper small tools 
exactly, make up an alloy from the 
table given. Drive the tool into 
it when cold; then heat the tool 
to cherry red, and plunge it into 
the impression. This method is 
more particularly suited for small 
tools. To temper watchmakers’ 
tools, heat them to cherry red and 
plunge them into sealing-wax ; take 
them out, and plunge into another 
place, and so on over and over 
again till cold. Very small tools 
may be heated cherry red, and 
then whirled round in the air till 
cold. To make steel very hard 
indeed for cutting glass, plunge 
the steel at a cherry red into 
mercury or a freezing mixture. If 
the steel be bright, and it be 
desired that it remain so, coat the 
surface with common soap. 
TENNIS-COURT. Ifthe court 
is to be made of cinders or asphalt, 
make it a very little higher in the 
middle than at the sides for the 
water to run off. Leave at least 
8 yds. longer lengthways, and 3 yds. 
broader sideways than the bare 
measurements of the court. 
Asphalt: (1) Dig down 5 in., ram 
the earth down at the buttom, and 
then fill in 6 in. of concrete, made 
from 5 parts clean gravel or shingle 
and 1 part blue lias lime, and ram 
it down thoroughly. Then place a 
layer 1 in. thick of best asphalt on 


TENNIS-COURT—TERRA-COTTA 


the top, and sprinkle Derbyshire 
spar or grault over the surface, 
and roll. (2) Dig down 4 to 6 in., 
and fill up with rough stones and 
bricks, which should pass through 
a 14 in. sieve, and ram down 
thoroughly. Then stir up hot 
boiled tar with gravel, and ram 
down a layer 2 in. thick. Leave 
for three or four months to find soft 
or sunk places; then put a layer of 
best asphalt 1 in. thick on top, and 
sprinkle with Derbyshire spar or 
grault, and roll. 

Cinder: Dig down 3 in. and ram 
the bottom quite flat. Fill up with 
3 in. broken stones or bricks to 
pass through a 14 in. sieve, and ram 
down thoroughly. Then place a 
layer 14 in. thick of dry breeze or 
ashes on the top, and roll down 
well. 

Concrete: (1) Dig down 6 in. and 
ram the bottom of the excavation. 
Fill up with 6 in. concrete made 
from 5 parts clean gravel or shingle 
and 1 part blue lias lime. When 
set, boil gas-tar, dry clean sand and 
a little lias lime, and spread and 
level it 1 in. deep on the top of the 
concrete while hot. (2) Dig down 
4 to 6 in. and ram the bottom of 
the excavation. Fill up with rough 
concrete, or broken stones and 
bricks, which have been passed 
through a 13-in. sieve. Mix 1 part 
cement to 3 parts clean sand, and 
lay it 2 in. deep on the top of the 
concrete. Finally lay 4 in. of pure 
cement over all. 

Gravel: Dig down 3 or 4 in., and 
ram the bottom of the excavation. 
Fill up with broken bricks and 
stones, which have passed through 
a 14-in. sieve. Then place a layer 
14 in. thick of gravel, and roll well 
down. The gravel may have salt 
strewed over it, and be well rolled 
in to prevent weeds growing. — 

TERRA~=COTTA: TO RE- 
PAIR. If a terra-cotta ornament 
be broken, and a piece missing, 
gum stiff paper on to the inside 


TETHER—TIN-PLATE 


to form a mould. Mix clay of the 
same colour, or pipe-clay coloured 
with the necessary pigments, with 
glue and alum water, and mould in 
place over the paper. This paste 
may also be,used as a cement. 
TETHER. Cut two light poles 
of pine 8 to 10 ft. long, and connect 
them at the centre with a few 
chain links; the centre link should 
be fitted with a swivel. At one end 
a large ring is slipped over a stake 


231 


and dry in sawdust. The metal 
being cleaned, tin by one of the 
following: (1) Cover the outside of 
the pot, or the part of the article 
which is not to be tinned, with a 
mixture of whiting, salt and water. 
Rinse over the part to be tinned with 
killed spirit [see SOLDER FLUXEs], 
and then sprinkle finely-ground sal- 
ammoniac over it. Hold the article 
over a fire, and press a stick of 
pure tin in the middle. When it 


_ driven into the ground, and on the 
other end is a small ring to which 
the animalis attached. A tethering 
screw, which may be used instead 
of the stake, is made from a piece 
of 3-in. iron bent as a corkscrew, 
with an eye-hole at the top. 
THERMOMETER. Ifthe mer- 
cury be separated or broken up in 
the tube, heat the thermometer till 
the mercury has risen up, and all is 
united; then allow it to cool. 
TINNING. If the metal to be 
‘tinned be new, wash it till perfectly 
clean with hydrochloric acid, water 
and ashes, and then rinse it in run- 
ning water. If the metal be very 
greasy, or an old pot is to be re- 
tinned, clean it by one of the two 
following methods: (a) Dissolve 1 
part caustic soda in 10 parts water ; 
immerse the article, and rub all over 
it with tow on the end of a stick. 
Then rinse it in running water, then 
in the caustic soda solution, and 
rinse again. Finally dip the article 
in nitric acid and water alternately 
two or three times, till perfectly 
clean, and dry in sawdust. (0) 
Heat the metal and burn off all the 
fat and grease, but care must be 
taken not to make the metal too 
hot, or it will be softened, and will 
then have to be made hard again 
by hammering. When cool dip the 
metal in hydrochloric acid; rinse, 


melts, wipe round with a woollen 
pad all over the parts to be tinned, 
and remove any tin that is over 
with this pad. Then immerse im- 
mediately in cold water, and scour 
over every part with sand and 
water. Dry in sawdust, and polish 
with whiting or some suitable 
polish. This and similar methods, 
only varying in detail, are employed 
commercially. (2) Boil the article 
for 4 hr. in a mixture of 3 lb. cream 
of tartar and 4 Ib. tin shavings in 2 
gals.water. Causticsodaor stannate 
of potassa may be substituted for 
the cream of tartar. (3) Boil 14 
oz. bitartrate of potassa and 1 oz. 
protochloride of tin in 20 oz. water 
for a few minutes, then put the 
brass in contact with a zinc plate, 
and immerse both in the liquid. 
(4) Mix 1 lb. ammonia alum and 1 
oz. protochloride of tin in 124 Ib. 
boiling water. [See also ELEcTRO- 


PLATE] 
TIN = PLATE : HOW TO 
FROST. (1) Dissolve 1 part 


common salt in 2 parts soft water, 
and add 4 parts nitric acid. Place 
the tin-plate over steaming water, 
and rub the liquid on the bottom 
side. When sufficiently frosted, 
rinse, dry in non-resinous sawdust, 
and then lacquer. (2) Heat the tin- 
plate till just too hot to hold in the 
hand, and then immerse it in a 


232 


solution of 1 part hydrochloric acid 
in 4 parts water. Rinse, dry in 
non-resinous sawdust, and lacquer. 

TINWARE: HQW TOCLEAN. 
(1) Wash the tinware in hot suds 
with a woollen cloth. If this be not 
successful, rub over with a mixture 
of kerosene and powdered lime, or 
whiting, or wood ashes, but do not 
uselye. (2) Rub flour over the tin- 
ware with newspaper. 

TRACK: HALF-MILE RUN- 
NING. Mark out two parallel 
lines each 600 ft. long and 451 ft. 3 
in. apart. Joint up the two pairs 
of ends, making sure that these 
cross lines lie at right angles to 
the main lines. Divide these cross 
lines in the centre, z.¢., 225 ft. 74 in. 
from either of the main lines. At 
these points drive in pegs, and with 
a piece of wire 225 ft. 74 in. long 
mark off a semicircle at each end, 
joining the two main lines. Mark 
this curve with posts or lime. At 
a distance of 3 ft. outside this line 
the perimeter will be exactly 4 
mile. It is well to mark out the 
home stretch 60 ft. wide, the re- 
mainder of the course being 45 ft. 
wide. 

TRANSPARENCY: EN- 
GRAVED. Wash the glass with 
water in which a little soda has been 
dissolved, dry and apply two coats of 
dammar varnish. When these are 
dry, apply a third coat, and when 
it is nearly dry and is “tacky” it 
is ready for the engraving. This 
should be laid between the folds of 
a towel dampened with salt water 
until it is thoroughly moist. Then 
. place it face downwards on the 
tacky varnish, and with a pad press 
and work it till every air-bubble is 
expelled. When the varnish has 
become perfectly dry, moisten the 
finger in clean water and commence 
rubbing off the white paper, rolling 
off the minute pellets as they are 
formed. As the engraving is ap- 
proached, great care must be 


TINWARE—TRAP 


which is sticking to the varnish. 
Dry thoroughly, and if any white 
spots or dim places appear, moisten 
the finger and remove them as 
before. If it be required to tint the 
transparency, apply a coat of var- 
nish, and lay a thin coat of glass on 
while still wet. Paint on this glass 
and shade as if painting a magic 
lantern slide [see Macic LANTERN 
SLIDES], then varnish, and if neces- 
sary lay on a second pane of glass, 
paint and varnish again; then a 
third sheet, and so on. This pro- 
cess gives a remarkably solid 
resemblance to the picture. The 
more common and less troublesome 
method is merely to paint on the 
back and varnish. 
TRANSPARENCY: STATU- 
ESQUE. Cut a pane of ground 
glass to the required size, and trace 
off the design of some statuary 
figure on it. Now shade the figure, 
using pencils from BBB to H, and 
an artist’s stump. Rub down all 
sharp outlines in the shading, blend- 
ing them withthe stump. The print 
must be accurately copied, and 
the high lights and deep shadows 
put in last, the former with mastic 
varnish, and the latter with black 
crayon. When the figure has been 
thus satisfactorily finished, the 
entire background must be filled in 
with opaque black. The black may 
be made by rubbing up lampblack 
and varnish, or tube paint. When 
it is desired to colour the transpar- 
encies, mix good water-colour paint 
with dammar varnish, and apply on 
the wrong side with a paint-brush. 
TRAP: BEETLE. Place a 
conical, smooth-glass, office gas- 
shade, small end downwards, in a 
jar, so that it rests on the rim. 
Place beer and treacle in the 
bottom of the jar, and incline 
pieces of wood from the floor to 
the shade for ladders. The beetles 
ascend the sticks, and then slip 
down the glass-shade through the 


exercised not to rub off the ink | hole into the jar. 


* 


TRAP 


TRAP: BOX. Cut from #-in. 
deal one piece 15 in. long x 8 in. 
wide for the bottom; two pieces 
15 in. long x 7 in. wide for the 
sides; and one piece 18 in. long x 
9 in. wide for the end. Nail the 
two side pieces to the bottom, and 
then nail on the back. After the 
back is fixed, bevel its two sides to 
a gable, as shown in the illustration, 
and in the peak cut a notch for 
string. Cut the top and front 
pieces so that they make a good 
but easy working fit. Round the 


back edges of the top piece so that 
it will close easily when hinged. 
To hinge, bore a small hole 3 in. 
from the top, and 4 in. from the 
back of each side piece, and drive 
wires into the top through these 
In the centre of the end 


holes. 


piece, 34 in. from the bottom, bore 
a 3-in. hole. Cut a piece of ash or 
hazel twig 10 in. long by about 3 in. 
diameter, and drive a piece of wire 
1 in. long through the centre at 
right angles to the twig, so that 
it projects about } in. on each side. 
Near the end cut a notch for the 
catch, as shown in the illustration. 
About 3 in. above the hole in the 
end piece cut a notch for the other 
end of the catch to rest 
in. Now make the 
catch the right length 
to reach from notch to 
notch, when the wire 
driven through the 
spindle presses a- 
gainst the inside of the 
end piece. Drive a 
nail into the front end 


233 


of the top piece; tie one end of a 
piece of string to it, and tie the other 
end on to the catch, passing it over 
the notch cut in the top of the end 
piece. To set the trap, bait the 
spindle, pass the notched end”*of 
the spindle through the hole from 
the inside, and nip the catch lightly 
between the two notches. 

TRAP: HOW TO DISINFECT. 
Traps should be handled as little 
as possible; it is best to pick them 
up with long wooden tongs, the 
jaws of which are never touched. 
After an animal has been caught 
in a gin or noose trap, it should be 
disinfected by dipping it in fresh 
blood or melted beeswax and then 
rinsing it in water, or by smoking it. 

TRAP: DROP-DOOR. Make 
a box 3 ft. long x 6 to 8 in. wide 
x 6to 8 in. high. Leave the two 
ends open, and fit a roller stick into 
each end close up to the top; bore 
holes in it with a gimlet, and then 
fix wires into the holes so that 


ee 


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me aut iN H 
LO 
Reet f H 
( aS! ta 
— 43, 


aT AN 

us 
they will rest at an angle of 45 
degs. as shown in the illustration. 
Wind the roller stick with wire to 
prevent it being gnawed through. 
The animal lifts the door when 
going in, and it closes to by its 
own weight. 

TRAP: FIGURE-FOUR. The 

illustration of the method of the 


234 


way the sticks are cut and fitted 
together explains itself. The board 
or box is rested on the slanting 
stick, and the baited end projects 
under the board. Nearly every 
trap is a variation of this mechan- 
ism, or the one described under 
Trap (Box). Where a board falls 
directly on the ground, the ground 
must be hollowed out under the 
bait, so that the animal is caught, 
but not injured. 

TRAP: GIN. Gin traps should 
be used for very shy animals and 
birds. The bait should be placed 
near the pan for animals, so that 
they put their feet on the pan; for 
birds the pan itself should be 
baited, so that the bird is caught 
by the neck. Attach a weight to 
the tail of the trap, but do not fix 
it to a tree or rock, for animals 
will often pull the leg off if they 
have something rigid to work 
against. Cover the trap with 
earth, and sprinkle it on with a 
spade, standing as far away from 
the bait and trap as_ possible. 
Then obliterate all foot- 
marks. ,When aquatic 
animals are to be trapped, 
attach the gin with a 
chain and ring slipped 
over a sliding pole. Cut 
a pole, with two branches 
opposite each other, a 
little longer than the 
water is deep. Cut off 
the branches about 4 in. 
long, and a little above 
them drive firmly in two 
screws on opposite sides, 
and slanting towards the 
end ofthe pole. File the 
counter-sink off the upper 
parts of the screws, so 
that if the ring attached 
to the trap is allowed to 
drop down the pole, it will pass over 
the screws, but will be stopped, and 
rest on the branches. Now plant 
the pole, branch end down, in the 
bed of the river, and attach the gin 


TRAP 


to it. Immediately the animal is 
caught it will dive into the water, 
the ring will slip over the screws, 
but when the animal wishes to rise 
again, the ring will catch in the 
screws, and it will thus be drowned. 
The branches will be the means of 
drawing the trap and game from 
the bed of the stream. It is often 
desirable to place small animals 
caught in a gin trap beyond the 
reach of other hungry quadrupeds. 
Bend the top of a young sapling 
down to the ground; fasten one 
end of a chain on to the trap, the 
other end on tothe sapling. Place 
the end of the sapling under a catch 
previously prepared, by driving a 
stick with a projection on it firmly 
into the ground. Make the catch 
just sufficient to hold the sapling 
when everything is still. When the 
animal struggles it will free the 
catch, and the sapling will spring 
up, carrying the trap and animal 
with it. 


TRAP: HALF-HOOP. Make 


a frame from 3-in. deal about 18 in, 


by 12 in., and cover it with wire. 
Cut a piece of ash or hazel 24 in. 
long, and bend it into a half-hoop, 
as shown in the illustration; the 
spring in the wood will keep it in 


TRAP 


position when the other two sticks 
are set. Cut another stick 19 in. 
long, and make two notches on 
opposite sides of it, 1 in. and 4 in. 
from the end. The back stick, 
which should be about 20 in. long, 
fits into the top notch, the top of 
the frame into the lower one. 
Catch the other end of this stick 
in the half-hoop, as shown in the 
illustration. Place the bread or 
grain on the ground inside the 
half-hoop. The bird will alight on 
the half-hoop, and thus spring the 
trap. 

TRAP: INSECT. After sunset 
place a barrel among the fruit 
trees, tar the inside, and place a 
light in the bottom. 


TRAP: LINE. Attach nooses 


made of horse-hair or fishing-gut 
to a main string, as shown in the 
Strew grain over the 


illustration. 


235 


TRAP: MOLE. Drive some 
nails through a heavy board, or 
weight the board with bricks, and 
file them sharp. Set the trap with 
a figure 4 [sce TRAP (FIGURE FourR)], 
so that when the trap is sprung 
the nails will pierce through into 
the mole run. The spindle of the 
figure 4 should set close down to 
the trail, so that the mole in pass- 
ing under it will spring the trap. 

TRAP: MOTH. A plan is 
shown of the trap with the top 
removed. Makea box 18 in. long 
x 9 in. wide x 9 in. high, with a 
movable top, and one end left open. 
(A), (B) and (D) are sheets of glass. 
A lamp is placed between the back 
and the last sheet of glass (D), and 
a hole is cut above it in the top 
for the chimney. (C) is a piece 
of gauze to prevent the insects 
damaging themselves. The moths 


nooses, and watch the trap. Im- | will try to get to the light, and will 
mediately a bird catches its foot | flutter along the slants of the glass, 


in the noose, relieve it from the 
noose, or it most probably will free 
itself. 

TRAP: MINNOW. Cut the 
bottom off a large pickle jar, and 
cover the hole thus made with 
coarse gauze, tying it firmly round 
the outside. Sew a few threads of 
wool about 2 in. long to the gauze 
on the inside of the jar. Attacha 
long string to the neck to lift out 
and lower the jar into the water. 
Place the jar on the bed of the 
stream, so that the water will flow 
through the gauze and out of the 
mouth. The water thus flowing 
will agitate the red threads, the 
minnows will enter at the mouth, 
mistaking them for worms, and 
when a sufficient number are 
in the jar, it should be raised 
quickly. 


as indicated by the arrows; when 
they have once got to the gauze, 
they will never find the way out 
again. : 
TRAP: MOUSE. Cut a thin 
piece of wood 2 in. long x 1 in. wide, 
and then cut it to a point at one end, 
making it almost a triangle. Bait 
the point, and rest the edge of an 
inverted bowl on the top edge of 
the wood, the baited end pointing 


236 


towards the centre of the bowl. 
The slightest touch should knock 
the wood on to its side, and let the 
bowl drop. 

TRAP: RABBIT. Rabbits have 
a very keen sense of smell, and 
will not touch food that has been 
handled. The snares should be 
set as much as possible with a 
stick held in the hand, and they 
should not be used a second time 
after a rabbit has been caught in 
them without first disinfecting them. 
[See Trap (How To DISINFECT)] 
They should be placed in hedges 
over a run, and this run should 
not be trodden upon. After setting 
the traps, walk round the hedge 
and spit on all the runs over which 


there are no snares set; this will 
prevent the rabbits using those 
runs, and force them to use the 
others. (1) Make a slip-knot noose 
at one end of a piece of twine 2 ft. 
long. Tie the other end to an 
elastic rod stuck firmly into the 
ground, or a sapling. At the point 
where the top of the rod or young 
tree will reach the earth when 
bent down in a semicircle, drive 
both arms of a crotched stick (C) 
into the ground. About 3 in. away 
from the crotch drive in a 5-in. 
circle of sticks 4 in. apart, and cut 
the top inch of them smooth. Cut 
a spindle (A) long enough to reach 
from across the crotch to the centre 
of the circle of sticks. Cut a catch 
stick (B) like the one described in 


TRAP 


TRAP (Box), and fasten it on to the 
twine 3 or 4 in. from the end of the 
sapling. To set the trap, bend the 
sapling down into position, and 
hold it there under the arm; place 
the baited spindle across the open- 
ing of the crotch, the baited end 
being in the centre of the circle of 
sticks; slip the catch stick through 
from the opposite side of the 
crotch, placing one end in the 
angle of the crotch, the other end 
pressing the spindle against the 
two arms of the crotch; loosen 
the sapling, and the tension on the 
twine will keep the catch stick and 
spindle in place. Now lay the 
noose over the circle of sticks, 
draw it up so that it rests near the 


o— eT | 
Wi wT ALT | Ps 
nS 


tops, entirely above the spindle. 
The rabbit must put its head over 
the sticks, and thus through the 
noose to reach the bait. The de- 
tailed sketch shows the trap badly 
set, for it would take a consider- 
able amount of working to force 
the spindle (A) belowthe bottom end 
of the catch (B); but it is so drawn 
to make the relative positions of 
the sticks clear. (2) Hang a noose 
as shown in the illustration over 


a rabbit run, taking care to fix it 
very firmly. Carefully observe the 


TRAP—TREES 


general directions given at the 
beginning. 

TRAP: RAT. (1) Bore a fairly 
deep hole in the ground, remove 
all excavated earth, and make the 
spot have the same appearance as 
before. Place a ring of corn around 
the hole. (2) Cover the top of a 
barrel with tightly-stretched brown 
paper; then cut a cross in the 
centre of it, sothat a rat will fall 
through, and the paper will then 
spring back again, having a solid 
appearance. Slant a piece of wood 
up to the top of the barrel, scatter 
grain up the board, and glue some 
on to the brown paper. The 
barrel should be filled with a few 
inches of water, and a brick not 
quite immersed placed in the 
centre. (3) Cut a barrel head a 
little smaller than the barrel, and 
pivot it in place. If it does not 
balance, nail weights on to the 
other side. The head must be 
so arranged that it will tilt 
round when a rat is on it; drop 
the rat into the barrel, and 
then rotate back to its original 


position. For the rest arrange as 
No. 2, 
TREES: BROKEN 


BRANCHES ON. Hold the 
branch in its original position, and 
then bind it up, using wax [see 
GRAFTING Wax]; put on splints, 
and tie all up tightly. If the 
branch be small, adhesive plaster 
may be used; the heat of the hand 
is sufficient to make it stick. If 
the limb is best removed apply 
white-lead paint pientifully to the 
cut immediately it is made. 

TREES: GIRDLED. Whena 
tree has been girdled by rats and 
mice during the winter, cut away 
the edges of the wound in the 
spring. When a new healthy bark 
is seen, peel off strips of bark from 
the limb of the tree, cut them to 
fit the gap exactly, and bind them 
in place with a bandage and graft- 
ing wax. 


237 


TREES: HOW TO PROTECT. 
Drive in three or four posts round 
the tree, so that they project at least 
6 ft. above the ground, and nail 
on cross-pieces at the top. Then 
wind a piece of wire outside, like 
a screw, with a 10-in. pitch, 7.¢., 
each time a complete revolution 
is made the wire will be 10 in. 
lower than it was before. 

TREES: HOW TO REPLACE. 
Dig out all the roots of the dead tree 
with the earth attached to them; 
fill up with fresh earth, and then 
plant the new one. . 

TREES: ROOT GROWN. 
This is the reverse process to 
layering. Dig about 10 ft. off some 
old tree, and when a small root is 
struck turn the end up above the 
earth. When this has sent up 
shoots for a year, detach it and 
replant. 

TREES SPLITTING: TO 
PREVENT. Select two limbs in 
a suitable position, and unite them 
with a splice or tongue graft. [Sce 
GRAFTING (Sflice)} The limbs 
should be temporarily tied together 
with string, until the graft has set. 
More bonds may be made in case 
of one failing. In large old trees, 
or those whose limbs have already 
begun to separate, bore a hole 
through each section, and secure 
with an iron bolt. The limb 
should not be fastened with ex- 
ternal rings. 

TREES: TO TRANSPLANT. 
Before digging up mark which side 
ot the tree faces north. Replant 
the tree so that this side faces the 
north as before. If the tree be 
fairly large, dig about the tree at 
a time when the ground is wet, 
and it has begun to freeze. Leave 
a large ball of earth about the 
roots, which will then harden with 
the cold. After digging well under 
the tree, prise it over with levers. 
Take the unfrozen soil thrown 
from the hole dug to receive the 
tree to pack around the roots 


238 


after resetting. If the soil be not 
so good where the tree is to be set 
as that from which it was taken, 
a waggon load of good soil should 
be provided. The tree should be 
stayed with wires running from 
near the top to stakes driven into 
the ground. 

TREES: WOUNDS ON. Heat 
grafting wax [see GRAFTING Wax], 
dip a strip of muslin in it, and 
place it perpendicularly over the 
wound while it is fresh. Then put 
three or more narrow bands around 
the tree. 

TRIPLE-TREE. Two illustra- 
tions for triple-trees are given, 
which explain themselves. In 
Fig. 1, if the double-tree be 


TREES—TROUGH 


62 in. at the centre, and 2 in. x 
34 in. at the ends. In hitching on 
the horses, place the tallest in the 
centre, and cross the traces as 
shown in the illustration. Triple- 
trees should be finished in the 
same way as double-trees. 

TROUGH: HOLLOW LOG. 
Select a hollow log of suitable size, 
and smooth out the inside with a 
gouge. Saw off the ends square, 
and nail on end pieces as in 
TROUGH (PIG). 

TROUGH: PIG. Nail two 1-in. 
boards together V-shape, only not 
so steep; one board should be 1 
in. broader than the other, so that 
the top of the trough is level. Saw 
the ends off square to the required 


Fie 1. 


2 in. x 44 in. at the centre, 
make the triple-tree 2 in. x 
63 in. at the centre, 2 in. x 4% 
in. at the short end, and 2 in. x 
8} in. at the long end. Lay down 


length. Saw off two I-in. boards 
15 to 18 in. long, and equal to the 
narrowest side board in breadth, 
for end pieces. Nail them firmly 
on, and if there be any leakage, 


Fie. 2. 


the whipple-trees on the floor, and 
mark out the size of the double- 
tree and whipple-tree; then the 
positions for the clevises. In Fig. 
2 the triple-tree should be 2 in. x 


fill the hole up with cement. 
[See CEMENT (CasK)] When the 
cement is set, soak the trough in 
oatmeal and water to stop up all 
small cracks. 


TROUGH—TYRES 


TROUGH: SCALDING. (1) 
Make the trough from 6 to 8 ft. 
long x 2 ft. 6 in. wide at top and 
2 ft. 3in. wide at bottom by about 
2 ft. 6 in. deep. The sides and 
ends to be made from 2 in. boards, 
and the ends grooved 4 in. into the 
sides. Nail them firmly in place, 
and further secure them by two 
iron rods at each end, which 
should be bolted on to small iron 
strips traversing the ends of the 
side pieces. The bottom should 
be made of 4-in. iron, lapped over 
at least 1 in., and securely screwed 
to the outside of the sides and 
ends. Plug up all the way round 
between the bottom of the side 
and the ends and the iron plate 
with cement. [See CEMENT (IRON)] 
Fasten two small iron chains by 
staples to the sides of the trough 
about 2 or 3 ft. apart. When in 
use these can be dropped in and 
over the trough, and by them a 
hog can be readily turned or lifted. 
Set the trough on a cheap brick 
furnace, or a small ditch may be 
dug underneath for the fire. (2) 
Make the trough to the same 
dimensions as No. 1, only nail ona 
bottom made of 2 in. pine, instead 
of }in.iron. Fit a good-sized iron 
kettle into the bottom, making a 
water-tight joint; set bricks on 
the under side, where it projects, 
in the usual way to form a fire-box. 
Turn a piece of pine to fit the 
inside of the kettle. When the 
water is hot enough, place the 
pine block in the kettle, and lower 
the hog on to the top. The block 
will be pressed into the kettle, and 
the water will flow out, surround- 
ing the hog. Immediately the hog 
is raised, the block will float, and 
the water will flow back into the 
kettie. 

TROUGH: WATERING. 
Watering troughs should be made 
of 2-in. boards. The sides and 
ends should be matched into 


239 


lead ground in linseed oil. Cover 
the whole of the top excepting 1 ft. 
at one end, and leave a trap door 
for that. The trough may be 
covered with sawdust in winter 
to prevent the water freezing. 
TRUCK: BARN, Frame two 
pieces of 3 in. x 3 in. x 8 ft. 
scantling together with three 
pieces of 2in. x 2 in. x 2 ft. with 
tenon joints, so as to form a plat- 
form 8 ft. long x 2 ft. wide. Fit 


good brass casters with large 
wheels to the bottom, as shown 
in the illustration. This will be 
found useful for moving grain, 
vegetables, etc. 

TYRES: PNEUMATIC, 
BANDS ON. Bands are most 
useful on, and can be best attached 
to tyres which have a smooth 
tread. Wash off all mud from the 
tyre, and sand-paper the tread, and 
also the inside of the band. Cover 
both liberally with solution and 
allow them both to dry. Then 
solution both again, and while 
fairly wet, place the band on, press 
it down and allow it to dry. The 
tyre should not be used the same 
day. 

TYRES: PNEUMATIC, 
DOUBLE TUBE, TO REPAIR. 
Bursts: If a large piece be blown 
out of the inner tube, cut out a 
short length including the defective 
part, and let ina piece from another | 
tube in the same way as a leaky 
joint is repaired as explained under 
Punctures. To repair the cover, 
solution a piece of prepared canvas 
on to the inside, and leave enough 
projecting to get nipped between 
the edges of the cover and the rim 
when the tyre is blown up. The 
canvas should be at least three 


grooves, and cemented with white ' times the length of the gash, and 


240 


slightly broader than the cover. 
All cuts in the rubber of the cover 
should be repaired. Ifit be a slight 
cut, wash out all dirt, dry, and 
then solution it up. If the cut be 
larger, plug it up witha paste made 
of cotton-wool and solution. Ifthe 
cut be very bad, a piece of rubber 
should be cut away from the canvas 
and a new piece solutioned in. To 
avoid bursts, repair cuts in the 
rubber immediately, for if not re- 
paired, water will get in, the canvas 
backing will rot, and the tyre will 
eventually burst. Avoid leaving 
the cycle standing in the sun if the 
tyres be blown up tight, more 
especially if they have been pumped 
up in a cool place. 

Punctures: lf the tyre be found 
down, tighten up the valve, and 
pump. If it still runs down, first 
examine the valve, before detaching 
the cover. Fill a wine-glass with 
water, rotate the wheel till the 
valve is on the top, hanging down- 
wards, and immerse it in the water. 
If any air-bubbles be formed, 
unscrew the valve and thoroughly 
clean it; also if it be of the rubber 
type, examine it to see if a new 
rubber sleeve be necessary. To 
make the rubber slip on more 
readily, dip it in water, or sprinkle 
a little French chalk from the 
repairing outfit on the inside, and 
also a little on the valve stem. To 
locate the puncture, if no air escape 
from the valve, look on the cover 
and feel for any projecting flint or 
thorn. Ifnone be found, inflate the 
tyre again and revolve it slowly 
near the cheek or tongue, when the 
escaping air may often be felt. 
Another way is to squeeze all the 
air out, puff in tobacco smoke, and 
pump up, when the escaping smoke 
may often be seen. If these 
methods fail, detach one side of 
the cover, and without shifting the 
relative positions of the air-tube 
and cover, feel on the canvas side 
of the cover for any projections, 


TYRES 


If found, the puncture will be 
exactly underneath in the air-tube. 
If nothing can be felt, slip out the 
air-tube and inflate it; then im- 
merse it in a basin of water and 
stretch it slightly, a little at a time, 
till a line of small bubbles are seen 
rising from the puncture. Instead 
of immersing it in water, it may 
be painted with soapy or sugar 
water, when a bubble will be formed 
over the puncture. Long nails, 
thorns, etc., often penetrate both 
walls of the tube, so note if the 
farther side of the air-tube be 
punctured as well. If no bubbles 
can be seen, examine the joint of 
the tube to see if minute bubbles 
are formed there. Assuming that 
the puncture be now located, dry 
the tube if it be wet. Remove all 
the gray deposit of sulphur for 
about 4 in. all round the puncture 
with sand-paper, or by rubbing with 
the dampened head of a “strike 
anywhere ”’ match, ora blunt knife, 
or by rubbing briskly with a wet 
handkerchief. Select or cut a rubber 
patch of a ‘suitable size, and cover 
one side of it and also the cleaned 
portion round the puncture with 
solution. Wait a few minutes till 
the solution is almost dry and has 
become ‘‘tacky”’; then press the 
patch carefully on, the two solu- 
tioned surfaces together; dust a 
little French chalk over it, replace 
the tyre and pump up immediately. 
If no patching rubber be at hand, 
a temporary repair may be made 
by gumming several thicknesses of 
stamp paper over the hole. If the 
joint be leaking, apply a little 
turpentine or benzine or benzoline 
and as it dissolves the old solution 
roll the rubber back on_ itself. 
When separate, clean both surfaces 
thoroughly and cover them. with 
solution. When tacky, unfold the 
outside end, so that it comes over 
the inside end, and press the two 
together. 

Valves: If there be a leak at the 


TYRES 


junction of the valve and the tube, 
try tightening the hexagon nut, 
which screws down on to the small 
plate. If the leak still continue, 
the valve must be taken out and 
inserted in some other place. Slack 
off the nut and remove the oval 
plate; moisten the canvas patch 
which surrounds the valve stem 
with turps, benzine or benzoline, 
and in a short time it can be pulled 
off. The valve head can now be 
pulled through the hole in the air- 
tube. If the rubber be damaged, 
and the valve has to be inserted in 
some other place, the piece of the 
tube containing the defective part 
is best cut out and a new short 
length inserted in the same way as 
repairing the joint in the inner tube, 
as already explained ; but if canvas- 
backed rubber be used, a large 
patch may be put on, Cut a slit 
in the air-tube, just large enough 
to insert the valve head at the 
bottom of the stem sideways when 
the rubber is stretched. Clean off 
the sulphur round the edges on the 
rubber; lubricate the valve head 
with solution, and press it through 
the hole. Cut an oval piece of 
canvas 2 to 23 in. long, and cut a 
hole out of the centre of it for the 
valve stem to pass through. Solu- 
tion one side of the canvas and all 
round the slit, and when it gets 
tacky press it well down. Put on 
the oval plate and screw it down 
with the hexagon nut. Do not 
replace the tyre for a few hours. 

TYRES: PNEUMATIC, 
SINGLE TUBE, TO REPAIR. 
It is almost impossible to make a 
permanent repair of a large gash 
on a single tube tyre without a 
vulcaniser, which costs about 20s., 
and can only be used at home. If 
the puncture be small, such as that 
made by a small sharp flint, deflate 
the tyre till it is soft, but still 
retains its form. Clean the tread 
near the puncture with sand-paper, 
and then apply solution liberally, 


241 


and leave it to get tacky. Attach 
one end of a piece of vulcanised 
tape toa spoke, and having covered 
the part of the tape which will 
come next to the rubber with 
solution, wind it round the tyre 
over the puncture, and finish off 
on another spoke. The tyre should 
be now slightly compressed at this 
point, but on the tyre being inflated 
again the tape will stretch, so that 
the tyre resumes its original form. 
Ordinary tape, which is _ first 
covered with solution and allowed 
to dry, may be substituted for the 
vulcanised tape, but it is not so 
good. If the puncture be very 
small, squirt a little solution in, so 
that a drop forms on the inside, 
and after waiting a minute or so 
pumpthetyre up. Ifthe puncture 
be of a medium size, such as that 
made by a tack, repair with rubber 
cord about 4 in. diameter. This 
thread should be first smeared 
with solution, and then forced in 
with a piece of wire, or with a 
special repairing instrument. If 
necessary, the hole may be made 
smooth and round by forcing a 
piece of hot wire through, but this 
requires care. Only thin wire 
should be used, and withdrawn 
immediately, only inserting about 
4in. Ifthe wire be pressed in too 
far, the farther wall of the tyre 
will be damaged. If the puncture 
be a fairly large cut, cover the cutter 
head of the special cutter provided 
with solution ; press it through the 
hole, and then screw down the fily- 
nut or handle to cut out the small 
circular hole. Smear the head of 
one of the mushroom rubber plugs 
with solution, and force it in head 
first. After a few minutes pump 
up the tyre till it assumes its 
normal shape, and then cut off the 
stalk of the plug level with the 
outside. It is also best to bind the 
tyre with vulcanised tape, as in 
the case of a small puncture, but 
not quite so tightly, or the plug 


16 


242 


may be pressed inwards, and thus 
prevent the repair from being air- 
tight. 


VARNISH. Use a soft flat 
brush from 14 to 2 in. wide. To 
clean the brush, wipe it as dry 
as possible, wet it in methylated 
spirits, and then wipe it until dry. 
Lay it away in a clean dry place. 
Do not use turpentine instead of 
methylated spirits to clean the 
brush. Before applying the varnish 
wipe the surface clean with a wet 
cloth, and allow it to dry. All 
greasy places should be cleaned 
with a weak solution of saleratus. 
If the surface be painted, stained 
or mahogany, use warm soft water, 
and add just enough hard soap to 
make weak suds. Begin at the 
top and wash down; only wash a 
small piece at a time before wiping 
it dry with a clean cloth. The 
atmosphere should be dry and at 
least 70°Fahr. For ordinary work 
use the varnish thin, diluting it 
with methylated spirits if neces- 
sary. A teacup will answer as a 
rule for a varnish cup, which should 
be cleaned immediately the work 
is finished. If there be any surplus 
varnish left in the cup, throw it 
away, but do not return it to the 
can. Spread the varnish on lightly 
and evenly; do not try to smooth 
up after the varnish has begun to 
set. In cold weather wash the 
first coat with water after the 
varnish has set, then dry with 
wash-leather. If there be any 
white spots on the varnish, remove 
them by rubbing them with a 
woollen cloth and coal oil. After 
varnishing do not allow dust or 
damp to settle on it before it is 
perfectly dry. If only one side of 
an article be varnished, support the 
article, varniéa side downwards, 
so that dust does not settle on the 
varnish. After applying the first 
coat, leave it to dry for a week if 
possible; then rub down with felt 


VARNISH 


and pumice powder and water 
before applying the next coat. If 
alcohol varnish becomes dull and 
spongy, place narrow strips of 
gelatine in it. The gelatine will 
absorb the moisture in the varnish, 
which is most probably the cause, 
but will not be dissolved itself. 
The gelatine may be dried, and 
used over and over again. When 
the varnish is clear, remove the 
strips of gelatine, and add more 
methylated spirits if mecessary. 
Many varnishes are mixed up with 
powdered glass. In nearly all 
cases the varnish should be 
strained, the powdered glass being 
merely put in to break up and 
mix the gums. 
VARNISH: AMBER. (1) 
Boil 6 oz. clean amber dust in 
1 pt. clarified linseed oil until it 
becomes “ropy”. When nearly 
cold add about 2 pts, turpentine 
to thin to the required consistency. 
(2) Mix 6 parts clean amber dust 
in 1 part Venice turpentine and 20 
parts turpentine. 
VARNISH: BLACK. (Il) 
Warm and mix over a fire 3 oz, 
asphaltum and 8 oz. burnt umber 
in 4 qts. boiled oil. Remove the 
varnish from the fire, and while 
still hot thin with turpentine. (2) 
Dissolve 1 Ib. ivory black, 1 Ib. 
lampblack, 1 oz. indigo, 4 oz. gum- 
arabic and 6 oz. brown sugar in 
2 pts. hot water; 4 oz. spirits of 


wine may be added if desired. [See 
also VARNISH (JAPAN: Black)] 
VARNISH: BRASS-_ 


COLOURED. To lacquer tin to 
give it the appearance of brass, 
colour the lac varnish with 
turmeric; to represent copper, 
colour with annatto. [See also 
VARNISH (LACQUER)] 
VARNISH: CHEAP. (1) Boil 
1 qt. best raw linseed oil for 1 hr.; 
then add 4 lb. powdered resin, and 
stir till dissolved. Take off the 
fire, and thin by adding 4} pt. 
turpentine; then strain, (2) Mix 


VARNISH 


any of the ochres or leads with 
coal-tar, and thin as desired with 
turpentine. Japan may be added 
as a drier. 

VARNISH: CHINESE. Mix 
together 3 parts fresh beaten 
defibrinated blood, 4 parts slaked 
lime and a little alum. The varnish 
is ready for use immediately, and 
two or three coats should be given. 
This varnish makes wooden and 
wicker work water-tight, and paste- 
board as hard as wood. 

VARNISH: CHROMO. Dis- 
solve a piece of isinglass about 3 
in. square in 3 or 4 tablespoonfuls 
of warm water. Apply this size 
to the chromo before applying any 
varnish, and leave it todry. White 
glue may be substituted for the 
isinglass. (1) Mix 12 oz. mastic, 
2 oz. 4 drms. pure turpentine, 30 
grs. camphor, and 4 oz. pounded 
glass in 34 pts. turpentine. Agitate 
till the mastic is dissolved; leave 
it to settle for 3 or 4 hrs., and then 
pour off the clear varnish. (2) 
Beat up the white of 1 egg and 4 
oz. loaf sugar in lime-water to the 
required consistency. Apply No. 1 
or No. 2 with a camel-hair brush 
when the isinglass solution is dry. 
[See also VARNISH (CRYSTAL) ] 

VARNISH: COPAL. (1) Break 
up 1 lb. copal into small pieces, 
and roast it to oxidise it. Boil the 
copal and # lb. resin in 1 qt. linseed 
oil over a slow fire for 15 mins.; 
then add 2 oz. sugar of lead, and 
boil slowly for another 15 mins. 
When cool enough, thin to the 
required consistency with turpen- 
tine, and strain. (2) Fuse 7 Ib. 
pale African copal, and then pour 
on 4 gal. pale drying oil. Boil until 
it becomes “ ropy,”’ and when cool 
enough, thin to the required con- 
sistency with turpentine. (3) Dis- 
solve 4 0Z. camphor in 3 Ib. ether, 
and then add 1 Ib. roasted and 
pulverised copal. Place it in a 
stoppered bottle, and when the 
copal appears partly dissolved 


243 


and swollen, add 1 1b. methylated 
spirits and | oz.turpentine. Shake 
up the bottle now and again, and 
leave to stand for a few hours. 

VARNISH: CRYSTAL. These 
varnishes are used for maps, water- 
colour drawings, etc., which should 
receive a coat of isinglass before the 
varnish is applied. [See VARNISH 
(CHROMO)] (1) Dissolve 4 oz. white 
shellac, 1 oz. camphor and 4 oz. 
Canada balsam in 1 qt. alcohol. 
(2) Warm 2 parts Canada balsam 
till quite liquid, and then pour in 
3 parts turpentine, and shake up 
till mixed. Stand the varnish in 
a warm place for some hours before 
use. (3) Dissolve 4 oz. mastic and 
4 oz. dammar in 1 pt. turpentine. 

VARNISH: GLASS. Place 4 
parts gum-mastic and 8 parts san- 
darac with 8 parts pure alcohol 
in a corked bottle, and warm it 
in a water bath. Heat the glass 
to 122° to 140° Fahr., and then 
varnish. This may be employed 
for transparencies, labelling glass 
bottles, etc. 

VARNISH: GREEN. Ofaque: 
Mix 8 parts crystal varnish with 
2 parts borax; then add 1 part 
oxide of tin, 1 part calcined bone, 
1 part verdigris and 1 part blue 
carbonate of copper. Chromine 
oxide may be added to vary the 
shade. 

Transparent: Grind very finely 
together 1 part Chinese blue and 
2 parts chromate of potash; then 
add and mix copal varnish. The 
success of this varnish depends on 
the grinding and incorporation of 
the ingredients. 

VARNISH: JAPAN. The 
article should first be thoroughly 
cleaned and polished, first with 
emery cloths, then rotten stone 
and water, and then with a buff 
and crocus powder. Coat the 
article with a cream made from 
unslaked lime and water, and brush 
it off when dry to remove grease. 
After the grease is removed do not 


~ 


244 


-touch the article with the fingers. 
The japan should be laid on with a 
soft brush worked rather dry, all 
the strokes being in the same 
direction. Immediately the japan 
is applied, heat the article in an 
oven at from 200° to 350° Fahr. 
The lower temperature is employed 
when japanning woods, and the 
temperature rises with different 
materials to 350° Fahr. for metals. 
Before japanning wood first give a 
priming coat of hot size or some 
‘“‘ filler” to prevent the japan sink- 
ing in. The japans should be kept 
in air-tight bottles in a warm 
place. 

Black: (1) Fuse and mix 12 oz. 
amber, 2 oz. purified asphaltum 
and 2 oz. resin. Remove from the 
fire, and when sufficiently cool, add 
about 1 lb. turpentine. This gives 
a very smooth jet-black surface, but 
is expensive. (2) Mix Zanzibar 
gum with Trinidad asphaltum in 
a copper vessel over a fire; then 
add linseed oil and black oxide of 
manganese to a stiff paste. Re- 
move from the fire, and when 
sufficiently cool, thin with turpen- 
tine. Store for a year, and then 
strain before use. This is the 
japan usually employed by coach- 
builders. (3) Melt 1 lb. asphaltum, 
and then add 1 lb. balsam of capivi, 
which has been previously heated. 
Remove from the fire, and when 
cool enough, thin with turpentine. 
(4) Moisten lampblack with tur- 
pentine, and grind it up very 
smooth; then add it to copal 
varnish. (5) Heat and mix 2 oz. 
purified asphaltum and 4 oz. burnt 
umber with 2 qts. boiled linseed oil, 
When mixed, remove from the fire; 
and when cool enough, thin with 
turpentine. 

Coloured: (1) Moisten the pig- 
ments such as_ red, vermilion, 
Indian red, green, Prussian blue, 
chrome yellow, indigo, or any of 
the metallic powders, with tur- 
pentine, and grind them up till a 


VARNISH 


very smooth paste; then add and 
mix it with best copal varnish. (2) 
Mix 2 oz. bruised copal and 1 dr. 
camphor in 8 oz. turpentine and 
6 oz. oil of lavender. Mix the 
pigments, if any, to a paste with 
turpentine, and add slowly and 
mix it into the varnish. (3) Mix 
2 oz. resin and 2 oz. shellac with 
the necessary pigments in 1 pt. 
methylated spirits. [See also 
VARNISH (LACQUER)] 

VARNISH : LACQUER, Clean 
the article with emery cloth, 
leather, and then lime to remove 
grease. [See VARNISH (JAPAN)] 
Place the metal on a hot plate, and 
keep it at about 150° to 180° Fahr. 
The lacquer should then be applied 
with a soft brush or cloth, worked 
rather dry, all the strokes being 
in the same direction. When the 
varnish is dry, the metal may be 
allowed to cool. The lacquer 
should be composed of the clearest 
varnish, the pigments ground in 
separate alcohol, and the two 
liquids then mixed together. If 
not more than 4 per cent. borax 
be added to the lacquer, it is 
claimed that the lacquer adheres 
more firmly to metals. The 
following are some of the pig- 
ments most commonly employed: 
aloes, annatto, dragon’s-blood, 
gamboge, -saffron, turmeric, etc. 
The following are some of the - 
gums most commonly employed: 
gum-gutta, gum-juniper, gum- 
mastic, seed-lac and_ shellac, 
Lacquers made with turpentine 
are more durable than those made 
with alcohol. A few examples of 
lacquers are given, but the gums 
and pigments may be mixed to 
give any desired shade in red or 
yellow. 

Light: Mix 3 parts aloes, 1 part 
turmeric to 100 parts clear shellac 
varnish. 

Red: Mix 32 parts annatto and 
8 parts dragon’s-blood with 100 
parts clear shellac varnish. 


VARNISH 


Yellow: (1) Dissolve over a fire 
2 oz. bleached shellac, 1 oz. colo- 
phony and 2 oz. gamboge in 1 oz. 
Venice turpentine added gradually. 
Dilute with hot turpentine to the 
required consistency, and filter. 
(2) Powder and mix 2 oz. seed-lac, 
2 oz. sandarac, 4 oz. dragon’s-blood 
and a pinch of turmeric and gam- 
boge with 3 oz. powdered glass. 
Dissolve them in a sand bath in 
1 pt. turpentine, and then add 13 
oz. Venice turpentine and filter 
through linen. (3) Dissolve in a 
water bath 1 oz. mastic, 1 oz. 
sandarac, } oz. colophony and 4 oz. 
aloes in 10 oz. spike oil or turpen- 
tine; then add } oz. Venice turpen- 
tine, and filter through linen. (4) 
Mix 1 part turmeric and 4 parts 
dragon’s-blood to a thin paste 
with alcohol, and then mix it with 
100 parts shellac varnish. 

VARNISH: LEATHER. (1) 
Mix 12 parts shellac, 5 parts white 
turpentine, 2 parts gum-sandarac, 
1 part lampblack, 4 parts turpentine 
and 96 parts methylated spirits. 
(2) Dissolve 8 oz. india-rubber in 
1 gal. turpentine; then mix it with 
an equal quantity of hot linseed oil 
over a slow fire. (3) For harness 
and similar goods, first oil and then 
sponge over with a lather made 
of Castile soap. Boil $ oz. gum- 
tragacanth with 2 qts. water down 
to 14 pts.; the gum should be 
frequently stirred whilst boiling. 
When nearly cold, and when the 
leather is dry from the lather, apply 
a thin coat of the gum. (4) Brush 
over the leather with a broad soft 
brush dipped in a concentrated 
solution of resin in an alcohol 
solution of shellac. (5) For ladies’ 
shoes, etc., add 4 oz. white pulver- 
ised wax, 1 oz. clear transparent 
glue in small pieces, 2 oz. gum- 
senegal, 2 oz. white soap shavings 
and 2 oz. pulverised brown sugar 
to 3 lb. boiling rain water. The 
ingredients should be placed one 
by one into the boiling mass. Now 


245 


remove from the fire, and when 
sufficiently cooled, add 3 oz. alcohol 
and then 3 oz. fine Frankfort black. 
This varnish is applied to the 
leather with a brush, and it can be 
afterwards polished with a large 
brush like ordinary blacking. (6) 
For shoes, etc., dissolve 1 part 
extract of logwood with a little 
neutral chromate of potash and 
sulphate of indigo, in 40 parts 
methylated spirits; then add 10 
parts shellac and 5 parts turpen- 
tine. 

VARNISH: MOTHER-OF- 
PEARL. Mix a_ concentrated 
solution of salt with dextrine, and 
lay on a thin coat with a soft broad 
brush. This varnish may _ be 
applied to wood, or paper if the 
paper be previously sized, or. to 
glass if the glass be previously 
varnished with shellac varnish. 

VARNISH: OAK. Dissolve 34 
lb. clear pale resin in 1 gal. turpen- 
tine. 

VARNISH: OIL~PAINTING. 
Boil parchment cuttings in water 
till a clear size is formed; then 
strain. Give the painting two 
coats of the size, passing quickly 
over the work, so as not to disturb 
the colours. Mix together in a 
water bath 2 drs. camphor and 
19 oz. turpentine; when dissolved 
add 6 oz. mastic and 4 oz. pure 
turpentine. Apply the varnish to 
the previously-sized painting. 

VARNISH: ORNAMENTAL 
WOOD. First give the wood a 
wash of thin glue water, and let 
it dry slowly. For light-coloured 
woods, a light pigment, such as 
chalk, is added to the wash; for 
dark woods, a darker pigment. 
When the wash is dry, rub over 
with pumice stone, and then apply 
one of the following varnishes: (1) 
Mix 2 lb. copal varnish with 4 oz. 
linseed oil varnish; place it in a 
warm place, and shake it up 
periodically. Apply this varnish, 
and when dry, rub over with a 


246 


solution of wax in ether. (2) Mix 
in a water bath 3 oz. sandarac, 14 
oz. mastic, 14 oz. copal and 2 oz. 
powdered glass in 3 pt. alcohol 
and + pt. turpentine. Shake up 
frequently while dissolving, and 
when dissolved, strain and bottle. 

VARNISH: PHOTO- 
GRAPHIC. (1) Dissolve 150 grs. 
pyroxyline in 140 oz. amyl acetate 
and leave fora week. This varnish 
is known as zapon varnish. (2) 
Dissolve 1 oz. bleached shellac 
and 1 oz. sandarac in alcohol. 
To clarify the varnish, if it appear 
turbid, see VARNISH (SHELLAC). 

VARNISH : SEALING-WAX, 
Mix 3 lb. best sealing-wax and 1 
Ib. shellac in 1 gal. methylated 
spirits; place # in a warm place, 
and often agitate it till dissolved ; 
then strain and bottle. This 
varnish is used for coils on electric 
machines, making corks air-tight, 
etc. 

VARNISH: SHELLAC. 
Powder the shellac very fine— 
bleached shellac sold in sticks is 
best—and then dry it over a fire, 
care being taken not to burn it. 
The best varnish is made by dis- 
solving 6 oz. powdered shellac in 
1 pt. spirits of wine; the next best 
in methylated spirits; then in 
naphtha. The varnish will most 
probably be slightly turbid, and to 
clarify it, add } its bulk of benzine 
to it. Shake and stir up the 
mixture every 10 mins.; and in 
tabout 1 hr. the clear shellac varnish 
will beat the bottom, the impurities 
being "absorbed by the benzine. 
Draw it off, and then slightly 
warm, and stir it to drive off any 
benzine there may be init. Ifthe 
turbid solution be allowed to stand 
undisturbed for a long time, the 
impurities will sink to the bottom, 
and the clear varnish may then be 
poured off. The varnish may also 
be clarified by passing it through 
animal charcoal. [See FILTER (OIL 
AND JELLY)] 


VARNISH—VASB 


VARNISH : TO REMOVE. (1) 
Cover the varnish with alcohol, 
and after a short time it will 
become soft, when it can be readily 
scraped off. (2) Where there are 
no sharp corners to destroy, rub 
over the varnish with emery cloth 
or glass paper. 

VARNISH : VIOLIN. (1) Mix6 
oz. gum-mastic with 1 gal. alcohol 
and 4 pt. turpentine varnish; place 
it in a warm place, and shake 
periodically till dissolved. Strain 
before using. (2) Dissolve 4 parts 
sandarac resin, 2 parts shellac, 1 
part mastic, and 2 parts benzors 
resin in 32 parts alcohol; when 
dissolved add 2 parts Venetian 
turpentine. Strain before use. 

VARNISHED SURFACES: 
TO CLEAN. To take the dirt off 
finely-varnished articles, such as 
musical instruments, saturate a 
piece of old silk with paraffin and 
rub over thoroughly; then_polish 
with linseed oil. 

VASE: RUSTIC FLOWER-. 
Bark: Fasten virgin cork or poplar 
bark vertically on to any rough 
box with brads, and ornament 
with lichens and grey bearded 
moss. A fringe of moss may be 
threaded on fine wire and hung 
round the bottom. 

Bowl: Use an old bowl of the 
required size, and tack on roots 
and knots, making the whole as 
knotted and fantastic as possible. 
The support or stand should be 
ornamented in a like manner. If 
a darker tint be required stain with 
2 oz. asphaltum dissolved in 4 pt. 
turpentine or coal oil, and then 
varnish the whole with copal 
varnish. 

Box: Make a strong box from 
beech or oak, and ornament it with 
pine cones, acorns, etc., as desired. 
[See Box (BuLB)] At each bottom 
corner a large cone may be sus- 
pended with wire like a tassel. 
Varnish with copal varnish. 

Log Cabin: Select sticks as 


VELVET—WALL 


straight as possible about 1 in. 
diameter x about 12 in. long. 1 in. 
from the ends of the sticks bore 
small holes with a red-hot knitting 
needle. Thread the sticks on to 
four stiff upright wires, so as to 
form an open-work box. Varnish 
with copal varnish, and line with 
moss before filling it with earth. 
To fill wooden flower-pot vases, 
first make a layer 1 or 2 in. deep 
of charcoal, and then fill up with 
rich loamy soil. <A few holes 
should be bored in the bottom 
to carry off surplus water. These 
vases may be set direct on the 
ground, or supported on posts 
driven into the ground, or tree 
stumps. The support should in 
all cases be ornamented to corres- 
pond with the vase it carries. 

VELVET: NAPON. Toraise 
the nap on velvet, place a damp 
towel over the face of a moderately 
warm iron; lay the velvet im- 
mediately on this, and as the steam 
passes through, brush briskly with 
a nail-brush in the direction that 
should raise the nap. 

VENEERING. The wood to 
be veneered should be perfectly 
smooth and flat. The glue should 
be rather thin, and the veneer 
should be kept tightly pressed on 
to the wood till the glue is dry. 

VINEGAR: POTATO. Place 
clean potatoes in a large vessel, 
and boil them till done. Pour off 
the water, and strain it. Place it 
in a warm place and add 1 lb. 
sugar, some hop yeast, and a little 
whisky to every 24 gals. potato 
water. Leave to stand for three 
or four weeks. 

VINEGAR: ROTTEN APPLE. 
Place rotten apples in a barrel 
with a few holes in the bottom; 
add a little water, and press out 
the juice. The cider thus extracted 
will turn to vinegar. 

VIOLIN STRINGS. Do not 
smooth violin strings with pumice 
stone, or bleach them with sulphur, 


247 


Before using an old string apply a 
very little sweet oil, or the oil of 
almonds; the oil should afterwards 
be wiped off. If the wire round 
the G string becomes loose, apply 
a little oil to it, and the gut will 
swell and make it tight. Copper 
wire is considered better than 
silver for G strings. 


WALL: DAMP. To prevent 
moisture rising up the bricks from 
the ground, spread a layer of fine 
concrete on the top of the founda- 
tion, and thinly coat the top with 
asphaltum laid on hot. Heat the 
bricks which form the next course 
over a charcoal fire, and dip them 
lightly in asphaltum before they 
are laid. To prevent water soaking 
through the wall when the rain is 
driven against it sideways: (1) 
Dissolve 12 oz. mottled soap in 1 
gal. boiling water. Spread the hot 
solution on the outside of the 
bricks, care being taken that it 
does not lather, and leave for 24 
hrs, to dry. Dissolve 4 oz. alum 
in 2 gals. water, and apply it over 
the soap-wash coating. (2) Heat 
1 part sulphur in 8 parts linseed 
oil to 280° Fahr. in an iron vessel. 
Apply this liquid as a paint on the 
outside. (3) Paint the inside walls 
with white-lead paint, a little 
litharge being added for a drier, 
which should be of the consistency 
of thin cream. The oil will be 
absorbed by the plaster in a few 
hours, but leave for two days before 
applying the second coat. The 
second coat is applied a little 
thicker, and if the absorption of oil 
be not great } spirits of turpentine 
is added to the third coat, but if 
the absorption has been great, less 
turpentine should be added. Into 
this coat the colouring ingredient 
may be put to bring it nearer the 
colour of the finishing coat. The 
finishing coat is made of very thick 
white-lead paint, and coloured with 
the ingredient necessary. The 


248 


paint is then thinned with turpen- 
tine. (4) Plant ivy up the walls, 
and let the ground slope from the 
wall to an open gutter about 1 ft. 
away. 

WALL-PAPER: TO CLEAN. 
(1) Cut an ordinary loaf about two 
days old into 4 or 6 parts. Blow 
off the dust from the paper with a 
pair of bellows; hold a piece of 
bread by the crust, and give a light 
steady sweep down the paper. Go 
round the top of the wall, always 
moving the bread straight down, 
and cutting it away immediately 
it becomes dirty. Then begin a 
little lower, and go round the room 
again, beginning each successive 
course a little higher up than the 
last ended. (2) Take a piece of 
wood the shape of a scrubbing- 
brush, nail a handle on the back, 
and a piece of sheep-skin with the 
wool on it, flax, tow or flannel on 
the face. If flannel be used several 
thicknesses must be nailed on. 
Bring the ends of the material 
round and nail them on the back, 
to avoid nail heads on the face. 
Dip the brush in dry whiting 
and proceed as explained in No. 1. 
The paper and whiting must be 
perfectly dry. 

WALL: PLANK. Very solid 
walls for barns, cottages, etc., may 
be constructed of planks where 
wood is abundant, but only sound 
seasoned wood should be used. 
Saw the planks any thickness, say 
2in. x 3 and 33 in. wide. Lay the 
planks on the top of each other, 
flat sides down, each alternate 
plank being a narrow one, so that 
every other plank projects 4 in. on 
the inside, the outside being kept 
flush. The projecting course on 
the inside will serve to hold the 
plaster. At the corners the planks 
should lap each other at each 
alternate course, and there held in 
place with iron spikes first made 
red hot and then dipped in linseed 
oil, At every fourth course 1-in. 


WALL-PAPER—WASH 


auger holes should be bored about 
3 ft. apart all round the walls, and 
oak pins driven into them. These 
holes should be drilled, so as to 
break joints all the way up the 
wall. Where doors and windows 
occur, the frames are inserted, 
and the planks cut accordingly. 
Partitions are built in the same 
way of 3-in. planks, projecting 4 in. 
alternately on either side, to hold 
the plaster. The partition planks 
should be let into the main walls 
occasionally, so as to lock the work 
well together. Plane the outside 
flush, and apply three coats of some 
durable sand wash, or paint. 

WARDROBE. Cut two pieces 
of deal 1 ft. wide x 6 ft. long x lin. 
thick for sides. Screw a piece on 
the top 1 ft. wide x 4 ft.long. Fix 
a 3-in. iron rod along the edge of 
the top and hang a curtain on rings 
from it. 

WASH. Do not apply washes 
to a surface which may have to 
be painted over at some future 
time, as they leave the surface in 
a bad state to receive oil paint. 
No wash is as durable as paint, 
but it is cheaper, and more quickly 
applied. Bricks and all absorbent 
surfaces should be made thoroughly 
wet before applying the wash. To 
apply whitewash to plaster, com- 
mence in the corner of the room; 
wet about 6 ft. square of the wall, 
apply the brush next to the side wall, 
and sweep out with an easy stroke, 
letting the brush gradually recede 
from the wall, and never stopping 
short, and only brushing in the one 
direction. Next extend the strip 
about 6 ft., apply the brush to the 
end of the strip, and sweep on to 
the first place washed. Continue 
the strip, always setting the brush 
at the end, and sweeping on to that 
washed before. It is essential, 
that each coat be put on even and 
without streaks. When dry, apply 
the second coat, and make the 
strips at right angles to the strips 


WASH 


on the first coat. Make the strips 
on the third coat the same as the 
first. To prevent the wash rubbing 
off, a teacupful of alum dissolved 
in boiling water may be added to 
each bucketful of the wash. To 
preserve uniformity of tint, the 
wash should be frequently stirred 
during use. 

WASH: BRANARDS. Dis- 
solve 10 1b. shellac in 10 gals. boiling 
water ; then add 30 oz. saleratus. 
Mix the solution with any wash 
mixed in the usual manner. 

WASH: BRICK. Mix 3 parts 
Rosendale cement and 1 part clean 
sharp sand with water. This gives 
a granite colour, the shade depend- 
ing on the shade of the cement. 
Add Venetian red to make brick 
colour, or lime for a light colour. 

WASH: BROWN. A cheap 
wash for wood is a solution of 
persulphate of iron of from 2° to 
24° Baume. The blue-grey tint 
this acquires on drying is changed 
to brown on the application of 
linseed oil varnish. 

WASH: CALCIMINE. (1) 
Powder and mix together 3 parts 
siliceous rock or quartz, 3 parts 
marble, 2 barrels porcelain clay 
and 2 parts freshly-slaked lime 
whilst still warm. Apply the wash 
to the wall, and leave for a day; 
then give numerous coatings of 
water, for each time the wash is 
wetted it becomes harder and more 
waterproof. (2) Prepare as Paris 
whitewash [see WasH (WHITE: 
Paris)], and add the pigments 
immediately after the glue. 

WASH : COPPERAS WATER. 
Dissolve 2 oz. pulverised copperas 
in 1 gal. hot water, and let it stand 
for a few days, stirring it occasion- 
ally. Slake quicklime with this, 
and add to the wash as much lime 
water as there is lime; then add 
about 1 pt. fine sand. This wash 
may be deadened by the addition 
of alcohol. Stir the wash up whilst 
using. 


249 


WASH: FIREPROOF. For 
woodwork not exposed to the open 
air, mix 5 parts alum, 7 parts rye 
meal paste and 30 parts finely- 
powdered clay in water. For 
exposed woodwork, mix 2% parts 
sal-ammoniac, 1 part white vitriol, 
2 parts glue and 20 parts zinc 
white in 30 parts water. 

WASH: FLAX-SEED. Boil 
3 lb. flax seed for 2 hrs. ina pail 
of water; strain, and add 2 qts. 
common plaster, 2 qts. wood ashes, 
1 teacupful wheat flour and 1 
teacupful brine. Leave the wash 
to stand several days, and stir 


frequently. 
WASH: GLUE. Make a paste 
of 1 lb. flour. Make 1 lb. glue and 


mix with the paste. While hot 
add 14 pts. linseed oil, and put the 
whole with 25 lb. whiting which 
has been soaked up to the proper 
consistency in water. Spread this 
wash in the ordinary way, but a 
trifle thick. 

WASH: HARD. (1) Melt 
together 40 parts pulverised chalk, 
50 parts resin and 4 parts linseed 
oil; then add 1 part oxide of copper, 
and afterwards 1 part sulphuric 
acid. The acid should be added 
slowly, and the mixture stirred all 
the time. Apply the wash while 
hot. (2) Mix 4 pailful of lime and 
water, and add 1 pt. hot flour 
starch to it. A little treacle or 
melted sugar may be added, which 
will make the wash slightly firmer. 

WASH : HOW TO COLOUR. 
To colour whitewash cream, add 
yellow ochre; pearl colour, add 
lampblack; fawn, add umber, 
Indian red and lampblack; stone 
colour, add raw umber and lamp- 
black; pink, add red lead. To 
prevent lampblack floating on the 
top of the wash as a greasy film, 
slake the freshly-burnt lime with 
just sufficient water to cause it to 
fall into powder. Stir the lamp- 
black up with this powder till it 
becomes of a uniform grey colour, 


250 


and then add boiling water, and 
stir constantly till of the required 
consistency; the other pigments, 
if any, should then be added. It 
should be noted that all colour 
washes dry lighter than when wet. 

WASH: LEAD AND 
CEMENT. Mix 2 parts lime 
water and 1 part ground white 
lead in boiled linseed oil, and grind 
all together in a paint mill or 
through a cloth; then add oil till 
of the required consistency. 

WASH: MILK. (1) Sweet 
milk may be substituted for oil in 
all inside work, where the smell 
of oil would be objectionable. If 
a building is to be repainted with 
wash of a darker shade on the 
outside, the wash is rendered more 
durable by adding 1 pt. sweet milk 
to 1 gal. ofthe wash. (2) Mix slaked 
lime with sour milk, and add any 
dry colour desired; dilute with 
water, if necessary, till of the 
consistency of ordinary wash. 
Three or four coats will be neces- 
sary, and the wash must be 
continually stirred up while it is 
being applied. This wash is very 
durable. 

WASH: OIL. (1) Slake a 
barrowful of quicklime and make it 
to a thick wash with water; then 
stir in 1 qt. boiled and 1 qt. raw 
linseed oil. When mixed stir in 6 
lb. umber and 6 lb. ochre gradually. 
(2) Mix 1 part fine sand, 2 parts 
wood ashes and 3 parts slaked lime. 
Sift through a fine sieve, and stir up 
in linseed oil to the consistency of 
paint. Apply the first coat light, 
the second coat heavy. This wash 
is cheap and very durable, and is 
practically fireproof. (3) Make a 
thin wash of 1 peck lime; add 25 
Ib. mineral paint, 25 lb. whiting, 25 
lb. finely-sifted road dust, 4 gal. soft 
soap and linseed oil till a thick 
paste. Thin to the desired con- 
sistency with fresh butter-milk. 

WASH: RICE. Slake 1 peck 


lime with hot water; strain, and | make it into glue. 


WASH 


add 1 qt. rock salt, 1 Ib. rice made 
to a paste [see PASTE (RICE-FLOUR)], 
4 lb. whiting, and 4 lb. dissolved 
glue. Leave to stand for a few 
days, then heat up, stir, and apply. 

WASH : STONE. To render 
stone and brick waterproof, coat 
to saturation with a solution of 
silicate of soda, which is decom- 
posed by the further application 
of chloride of calcium. 

WASH: TREE. Mix 4 parts 
resin, 4 parts soft soap, 2 parts tar 
and 1 part sperm oil. This wash 
is painted in a broad band round 
the trunk to protect the tree from 
insects. 

WASH: WHITE-. Common: 
(1) Pour enough warm water 
slowly on to quicklime to keep it 
from burning, but not enough to 
drown it, and then reduce it toa 
thin wash. If the wall be very 
rough, mix salt and ashes with the 
first coat; if it be smooth, mix salt 
only. A little bluing should be put 
into the last coat. (2) Mix freshly 
slaked lime with water till it is 
of the consistency of thin cream. 
Dissolve a small lump of copperas 
in water, and add the liquid to the 
wash. The wash should be stirred 
up every time the brush is dipped 
in, 

Durable: (1) Add 1 Ib. tallow 
and 2 qts. concentrated rock salt 
brine to 1 peck lime while it is 
slaking. Thin to the required 
consistency, and then add colouring 
ingredients, if mecessary. This 
makes a good outdoor wash. (2) 
Slake 3 lb. lime with 1 pt. skimmed 
milk. Dissolve white Burgundy 
pitch in 6 oz. oil; then add it 
slowly to the lime. Now add 3 
pts. more skimmed milk and 3 lb. 
whiting. 

Hard: Stake 4 bushel lime with 
boiling water; then add 2 Ib. 
sulphate of zinc and 1 Ib. salt. 

Paris: Soak } lb. glue for about 
12 hrs. in tepid water, and then 
Put 6 to 8 Ib. 


WASH—WATER 


Paris white into another vessel, 
add hot water and stir till it has 
the appearance of milk of lime. 
Add the glue, stir, and apply while 
warm. 

Vitriol: For outside work slake 
1 peck stone lime, and add 2 qts. 
sweet milk. Dissolve 4 Ib. salt 
and 3} lb. white vitriol in water, 
and add it to the lime. Thin to 
the required consistency, and add 
colouring ingredients as desired. 

WASH: YELLOW. Mix | Ib. 
copperas in 8 gals. water and let it 
stand for 24 hrs., stirring it from 
the bottom two or three times. 
Slake the lime with this, and thin 
it to the usual consistency. Add 
an amount of hydraulic cement 
equal to the lime, and 2 qts. sand 
to every 15 gals. of wash. Stir 
frequently to prevent the sand 
settling. 

WASH: ZINC. Mix oxide of 
zinc with common size, and apply 
it for first coating. When dry, 
paint on a wash of chloride of zinc, 
which will produce a glossy surface. 

WASHING FLUID. (1) Boil 
1 lb. soda ash and 1 Ib. unslaked 
lime in 4 qts. water; then leave 
it to settle, and pour off the clear 
liquid. Soak the clothes in water, 
to which 4 cupful of the fluid has 
been added, for 12 hrs. Then 
rub the clothes, and put them in 
the boiler, which should contain 
. soft water, 4 cupful of the liquid, 
anda few slices of soap. Let the 
clothes boil 10 mins., and then 
rinse. (2) Dissolve saltpetre in 
soft water. This is said to be quite 
harmless to any clothes. 

WATER: HARD. To test for 
hardness, add a few drops of a 
solution of soap and alcohol to the 
water. Ifthe water be hard, white 
flakes will form; if not hard, the 
water will remain clear. 

WATER: IMPURE. To test if 
the water be impure, mix 10 grs. 
pure white sugar in 10 oz. of the 
water; place it in a tall jar in 


251 


strong daylight in a warm room, 
and tie muslin over the top to keep 
out all foreign matter. If the 
water become turbid within ten 
days it is impure; if it remain 
clear, it is most probably pure 
from sewerage. [See also WATER 
(HARD) ] 

WATER: TO PURIFY. The 
only method for making water safe 
to drink is to boil it. To remove the 
flat taste, and possibly vegetable 
sediment, filter through charcoal. 
The carbon of the filter should be 
renewed periodically. For remov- 
ing the smell arising from foul 
water, and for precipating organic 
growth: (1) Add about 1 oz. 
hypermanganate of potash to every 
50 gals. water. The chemical action 
is marked by a purple colouring, 
and this colour indicates the 
presence of organic matter. The 
hypermanganate should be added 
until this colouring disappears. 
As an aid to keeping water pure, 
it should be frequently agitated. 
(2) To clear muddy or soapy water, 
stir in a little alum water. In 
times of drought washing water 
may thus be used a second time. 
(3) A few scraps of iron, or chloride 
of iron, will prevent bad odours 
rising from standing water. (4) 
Add caustic soda or concentrated 
lye to cistern or stagnant water. (5) 
Sprinkle finely-powdered charcoal 
over the surface of rain water in 
the evening, and in the morning 
the water will be clear. (6) Keep 
a few small fish or a frog in the 
tank or well. 

WATER: TO SEE UNDER 
(1) Cut two boards 5 in. wide, and 
two boards 3 in. wide from 4 in. 
deal of the required length, the 
length depending on the depth of 
water. Nailthem together to form 
a square tube 4 in. x 5 in. outside. 
Before nailing together saw a kerf 
on a broad side half-way through 
each board and 1 in. from the end; 
into this fit a piece of glass 33 in 


252 


x 44 in. Coat all the joints be- 
tween wood and wood, and wood 
and glass, with _white-lead paint, 
and then nail together. The tube 
end will have to be weighted with 
sinkers. It is an advantage to 
cover the head with a cloth. (2) 
When water is frozen over, cut 
a hole through the ice, apply the 
face to the opening, and cover the 
head with a blanket. In summer 
a float with a hole cut in it may be 
substituted for the ice. 

WAX: COBBLER’S. (1) Melt 
and mix 5 parts resin, 5 parts pitch 
and 2 partstallow. Whilst cooling, 
work it with the hands under warm 
water. (2) Simmer together 1 Ib. 
pitch, 14 oz. beeswax, 14 oz. resin, 
2 heelballs and 1 pt. boiled oil. 
This makes a liquid wax. 

WAX FLOWERS : TO MAKE. 
Select a number of leaves, such 
as oak, ivy, geranium, fuchsia, 
heliotrope, etc., and place them 
face downwards on a large sheet 
of writing-paper. Brush carefully 
over the back of each leaf with 
melted lard, applying it with a 
common gum brush. Mix some 
plaster of Paris with water in a 
bowl to the consistency of batter ; 
dip some out quickly (as it hardens 
very soon), and cover each leaf 
with a thick coating. Smooth over 
with a knife, and in about half an 
hour turn over the moulds and 
remove the leaves gently with a 
penknife. Allow the moulds to 
harden thoroughly before using 
them, and just before’ use 
thoroughly saturate them with 
water. The moulds are sometimes 
painted with thin shellac varnish, 
which gives the wax a more shiny 
appearance, but the veining is then 
not so sharp. To prepare the wax, 
melt best cake wax in an earthen- 
ware dish over a slow fire; then 
add a tablespoonful of  finely- 
crushed balsam of fir to every 
pound of wax, and thoroughly stir 
it in witha clean stick. If coloured 


WAX 


wax be required, tie a small amount 
of dry paint up ina thin cloth, and 
press it into the wax until of the 
required shade. When all is 
mixed, strain through a thin white 
muslin cloth into a clean earthen- 
ware dish. Dip a pane of glass 
into a basin of water, shake off all 
the drops quickly, and then dip out 
a portion of the melted wax, and 
pour it lengthways over the pane. 
Slip the point of a knife under one 
edge, and remove the sheet of wax 
carefully. Wet the glass again, 
shake off the drops, dip out some 
more wax, and make another 
sheet, and so on, until enough 
sheets have been made. The 
room in which the sheets of wax 
are made should be warm, as the 
wax becomes brittle, and breaks 
readily when cold. Toclean soiled 
wax, moisten a cloth with turpen- 
tine and rub very carefully. 
Abutilon: Materials required: 
4 package light green wax; 4 
package white wax; 4 package 
light yellow wax; green spool 
wire; abutilon leaf-mould; glass- 
headed moulding-pin; small camel- 
hair brush; 1 tube dark yellow 
paint; 1 bunchrosestamens. The 
above will be enough for four 
bouquets. To mould the leaves, 
select a piece of wire 3 in. long, 
and wind it with a narrow strip of 
green wax; now wind two more 
pieces of wire, each 14 in. long. 
Dip the leaf-mould in water, shake 
off the drops, and lay a sheet of 
wax lengthways on the back of the 
leaf-mould; press it down around 
the edges, when it will cut off. 
Now lay the longest-prepared wire 
in the centre of this leaf, and lay 
over it another piece of wax length- 
ways of the sheet. Press this 
firmly down so as to get a good 
impression of the veins. Dip the 
finger in water, and rub around 
the edges, when the leaf can be 
readily removed from the mould. 
Mould two more leaves in the 


WAX 


same way on the shorter lengths 
of wire, and join them to the first 
leaf to make a spray. It is best to 
have a natural spray of abutilon 
fora model. For the 
flower cut six pieces 
of white wax the 
shape and size shown 
in the illustration, 
and roll them until 
cupped around the 
rounding edges. Dip 
a camel-hair brush 
in dark yellow paint, 
and draw fine veins 
over them, as represented by the 
lines in the illustration. Cut off a 
piece of spool wire 2% in. long ; make 
a hook at one end, and cover it with 
a narrow strip of wax 4 in. long 
x 3 in. wide. Place five rose 
stamens in this, the one in the 
middle being longer than the rest, 
and fold the wax firmly around 
to keep them in place. Then wrap 
the stem with a narrow strip of light 
green wax. Place the six petals 
already made on the stem, allowing 
the bottom, which has a narrow, 
straight edge, to rest right around 
the full part covered with the 
narrow strip of wax. The abuti- 
lon is full shaped, and when all 
the pieces are on, the appearance 
should be rich and double. Finish 
off, when all the pieces are on, 
with a small piece of wax, and 
join the flower to the leaves. 
Fruit: (1) Wax fruits are usually 
made by the use of double moulds, 
one for each half; or if the fruit 
be very irregular, the mould may 
have to be made in three pieces. 
Prepare a smooth, damp surface 
of sand, into which one half of the 
fruit is carefully pressed; a border 
of tin or stiff paper is built up all 
round and 4 in. away from the 
fruit, and plaster of Paris in a 
cream-like consistency is poured 
into the cell thus made, so as to 
fully cover the fruit. Leave the 
mould for about 4 hr., then take it 


253 


9 


up, extricate the fruit, turn the 
fruit round, and imbed the other 
half of: it in the sand as before. 
Then make a mould of the other 
half of the fruit. Whether fruit be 
cast hollow or solid depends mainly 
on the size. If large, a core of 
some rough material may be in- 
serted to save the wax. Some soft 
fruits, such as ripe plums, need 
very careful handling. For such 
fruits elastic moulds of glue are 
sometimes used. (2) Small fruits, 
such aS grapes and currants, are 
made of glass bulbs, carefully 
blown to shape. These are fixed 
by wax to wire inserted into holes, 
and are then dipped into melted 
wax ofthe proper colour. Generally 
speaking, the colour of the wax 
employed is that of the lightest 
part of the fruit, the deeper tints 
being afterwards laid on with a 
brush. The chief pigments em- 
ployed are burnt and raw umber 
and sienna, chrome-yellow, red 
lead, Prussian blue, carmine and 
lake. 

Fuchsia: Materials required: 4 
package stem wire; 4 package 
each of white, pink and light green 
wax; fuchsia leaf-mould; 1 bunch 
fuchsia stamens. 
Cut eight pieces 
from the white 
wax the shape of 
Fig. 1, and roll 
them cup shape. 
See Lily, Pond. 
Make a hook at 
the end of the stem, then take a 
piece of wax barely 1 in. long and 
less than 4 in. wide, and roll it 
around the hooked part of the 
stem, which must be wound with a 
strip of wax, having first placed 
five stamens, two on each side and 
one in the centre of the long 
narrow strip before rolling it 
around. Let the centre stamen 
project one-third longer than the 
other four. Place the cup-shaped 
pieces, the first and second im- 


Fia. 1. 


254 


e 


mediately opposite, until four have 
been used; the remaining four are 
placed in the same manner, only a 
little farther down the stem. For 
a double fuchsia use eight pieces, 
for a single flower but four. Now 
cut from the pink wax four pieces 
like Fig. 2; roll so that the pointed 
part will bend slightly backward. 
Place on the stem with the straight 
part of Fig. 2 resting immediately 
where the pointed part of Fig. 1 
was placed. Finish with a small 
strip of green wax for the calyx. 
To make a half-open bud, roll the 


a 


Fia. 2. 


pieces like Fig. 2, as for the full- 
blown flower, but turn the pieces 
over and bring the points together 
just so that they will touch. 
Mould the leaves in the ordinary 
way. 

Lily, Arum: Materials required: 
+ package magnolia wax; 1 yd. 
bonnet wire; 4 package green 
pond lily wax; a small quantity of 
dry chrome-green paint; a small 
quantity of corn meal; and a 
wooden moulding-pin. Make the 
leaves from a mould of plaster of 
Paris in the ordinary way, using 
light green pond lily wax. For the 
flower cut two pieces of the cream 
coloured magnolia wax 54 in. long 
x 34 in. wide to the shape shown 


in the illustration. One is for the 
full-blown lily, and one for an open 
bud. Cut a length of wire 9 in. 
long for the stem, and fold a piece 
af cream coloured wax 3% in. wide 


WAX 


round it, beginning at the top, and 
folding it neatly in place for the 
calyx. Now roll the calyx in a 
little light yellow wax, and after- 
wards roll it in corn meal. Now 
mould the two pieces cut to the 
shape of Fig. 1 with the moulding- 
pin. This can only be successfully 
done by copying from a real lily. 
After rolling and moulding it to 
shape, place it on the stem, letting 
the bottom of the stem rest on the 
bottom edge of the calyx. Rub the 
lower edge of the calyx with a 
small sh i of dry green paint. 
Make the ‘half-open bud in the 
same way, only roll it to give it 
a less open appearance. 

Lily of the Valley: Materiala 
required: 1 package white wax; 
1 package dark green wax; 1 
spool green silk wound wire; 
and a little dry chrome-yellow 
paint. Make two leaves for each 
spray of flowers from the dark — 
green wax in the ordinary way. ~ 
Cut eight pieces of the spool wire 
1} in. long for the stems. Wind 
each stem with a narrow strip of 
white wax; place a ball the size of 
a pin-head on the top, and rub 
a little chrome-yellow over each. 
Cut eight pieces of wax to the 
shape shown in the illustration. 


Place one of these around the 
stem, having first made a ball the 
size of a pin-head on the end. 
This little ball should be right in 
the centre of the flower, and is 
intended to represent the pollen. 
Turn the edges of the flower 
slightly back, and place a flower 
on each of the small wires, pressing 
down around the stems, and fasten- 
ing the edges together with the 
warmth of the fingers. Attach the 
small wires to the stem by winding 
them carefully around, just enough 


WAX 


to fasten them, and curve the stem 
to make the flower hang down a 
little. Place the stem of the lilies 
upright between the leaves, and 
twist the stems together im- 
mediately at the bottom. The 
stem should only extend about 
half-way up the leaves. 

Lily, Pink Day: Materials re- 
quired: 4 package rose-pink wax ; 
4 pieces green stem wire; 4 
package light green wax; and 7 
lily stamens. For the full-blown 
lily cut two pieces the shape of 


Fia. 1. 


Fig. 1, 24 in. wide x 4 in. long, 
and roll with a_  glass-headed 
moulding-pin. See Lily, White 
August. Use a piece of bonnet 
wire 64 in. long for lily and bud 
stem; use the stem wire for the 
leaves. Wind the piece 64 in. 
long with a narrow strip of green 
wax; then take two narrow strips 
of pink wax, and wind the stamens 
up to the ball part; dip the ball 
part of the stamens in light yellow 
paint. Then take a strip of pink 
wax 4 in. wide x 2 in. long, and 
fold lengthways around the stem, 
placing in the stamens, six of them 
exactly even with one another, and 
the seventh and middle one 4 in. 


ee 


Fic. 2. 


longer. Arrange the lily on the 
stem as for the Lily, White August, 
and finish with a green calyx. 
The leaves of this lily may be 
made without a leaf-mould; they 
are perfectly straight oa the edges, 


255 


and have fine veins. Cut off two 
pieces of green wax, as shown in 
Fig. 2, # in. wide x 5 in. long. 
Having first wound three or four 
pieces of stem wire, cut out the 
leaves, laying in the stems ex- 
actly as if using a mould. Vein 
the leaves by drawing the point 
of the moulding-pin very carefully 
down the centre of each leaf three 
or four times after they are 
stemmed. 

Lily, Pond: Materials required: 
1 pond lily leaf mould; 1 package 
green stems for leaves; 1 package 
light green pond lily wax; 1 package 
white pond lily wax; 1 package 
light yellow wax; 1 package dark 
yellow wax; dry Indian red paint; 
1 coil bonnet wire. Fold or double 
a sheet of light yellow wax length- 
ways of the sheet. Then with a 
pair of scissors notch it across, as 
in Fig. 1,1 in. wide x 3 in. long. 


Fia. 1. 


Pinch the end of each notch be- 
tween the thumb and forefinger, 
and the notched strip will then be 
ready to place on the stem. Fold 
a dark yellow sheet in the same 
manner, and cut with a little larger 
point. Cut a piece of wire about 
1 ft. long for each stem, and press 
a marrow strip of wax round, 
cementing it in place with the 
warmth of the fingers. Make a 
small hook at the upper end of the 
wire to prevent the leaves from 
slipping upwards in putting them 
together. Cover this hook witha 
small ball of yellow wax; with the 
point of the glass-pin make a dent 
in the centre of the ball, and draw 
lines from the centre to the outer 


256 


edge, to give the appearance of a 
star; then roll the light yellow 
strip round the stem, pressing it 
neatly and firmly down. Then 
put on the dark yellow strip, the 
points of which should be rubbed 
lightly with the finger dipped in 
Indian red paint. To make the 
white leaves, cut with the sharp 
point of the moulding-pin eight 
pieces, shaped as Fig. 2, lA in. x 2 


Fia, 2. 


in. The wax should be laid on some 
clean white paper on a smooth 
table, and the pin dipped in water 
occasionally to keep it from sticking 
to and tearing the wax. Then dip 
the knob of the pin in water, shake 
off the drops, and roll the rounded 
end of the leaf until it is cupped 
half-way down its length, and 
-especially at the end. When the 
light leaves are well rolled, place 
them on the stem. Place the 
bottom part of the leaf right on 
the stem, letting the edge of the leaf 
rest on the bottom edge of the 
centre of yellow wax. Place 
another leaf immediately opposite 
the first, pressing it firmly on with 
the warmth of the fingers, and so 
on till all the eight areon. Make 


Fia. 3. 


eight more leaves like Fig. 3, 22 in. 
x 14 in., and having rolled them, 
place them on in the same manner, 
allowing the rounded edges of the 


WAX 


shape Fig. 3 to project a little 
above those of shape Fig. 2. Make 
eight leaves to shape Fig. 4, 3 in. 
x 1} in. Roll them, and place 


Fia. 4. — ; 


them on a little above shape Fig. 3. 
Make sixteen leaves, shaped as 
Fig. 5, 3 in. x 1} in., and place 
them on a little above shape Fig. 4. 
Make eight more leaves, shaped as 


Fic. 5. 


Fig. 5, only more rounded at the 
top; roll and place them as the 
others. Cut eight leaves of green 
wax, shaped as Fig. 4, 34 in. x 12 
in.; roll and place on in the same 
manner as the white ones im- 
mediately over those last placed. 
For leaves wind two pieces of 
green stem wire with green wax 
for each leaf. Four leaves with a 
lily bud is sufficient. Dip the brass 
leaf mould in water, shake off the 
drops, then lay on a sheet of green 
wax, press it down lightly, so that 
it will adhere to the mould. Then 
place in the stem a little over half- 
way down the leaf. Fold over the 
sheet of wax, and press down firmly 
till all the veins are plain; then 
rub over the veins with a little 
Indian red. After the lily is com- 
pleted, coil the wire up about three 
times, bending the lily stem until 


WAX 


it rests immediately in the centre 
of the coil; attach the leaves to 
the coil as neatly as possible, or 
what is better, fasten immediately 
to the stem of the lily. This must 
be done with great care, as the wax 
is easily broken. Make the bud in 
the same manner as the lily, but 
using only half the number of 
leaves. 

Lily, White August: Materials 
required: 1 bunch lily stamens; 
4 package double white wax; 1 
package light green wax; a few 
green stems; and a little dry light 
yellow paint. The leaves should 
be made in plaster of Paris moulds 
in the ordinary way. Cut two 
pieces, shaped as in Fig. 1, 3 in, 


ee : 


Fic. 1 


wide at the top x 6 in. long, from 
the double white wax; roll so that 
the points will turn outward a 
little, and the centre part of the 
lily be cup-shaped. Wind a piece 
of bonnet wire with green wax; 
cut a strip of white wax 2% in. 


long x 4 in. wide, double it length- 


ways and roll it around the stem, 
placing in five lily stamens, the 
centre one projecting 4 in. beyond 
the rest. These stamens should 
first be wrapped to the ball with 
strips of white wax, sufficiently 
wide to cover them neatly, and the 
ball part dipped in dry yellow 
paint. Now place the two parts 
of the lily on the stem, joining 
carefully by pressing the edges 
together with the warmth of the 
fingers. The points of the lily 
must project } in. beyond the lily 
stamens. Fora bud cut up pieces 
shaped as Fig. 1, only smaller than 


257 


those for the flower. The lily and 
bud grow up out of a green calyx, 
shaped as Fig. 2. Cut the piece 


Fia. 2 


of green sheet wax, and place it 
on the stem, with the pointed part 
turned toward the top of the lily 
a little open. The bottom part of 
the calyx should rest immediately 
on the bottom of the lily stem, or 
to be plainer, on the bottom of 
Fig. 1. 

Rose and Bud: Materials re- 
quired: 1 package white, light 
pink, deep crimson or pale buff 
wax; 1 package green stem wire; 
1 package dark green wax; and 1 
package light green wax. Usea 
large glass-headed moulding-pin for 
moulding the leaves into shape. 
Make a small hook at the end of 
one stem wire; then with a narrow 
strip of green sheet wax, wind the 
stem neatly. Cover the hook with 
a small piece of wax, to form a 
a ball. This ball must be of the 
same colour as the rose. Below 
the first ball make one slightly 
smaller, which should be covered 
with green wax for the calyx when 


the rose iscomplete. Cut ten leaves 
as shown in the illustration, 1? in. 
x 1 in. Roll them cup-shaped 
with the glass head of the pin 


17 


258 


being careful to keep it wet with 
water. Roll the straight part of 
the first leaf round the bottom part 
of the ball made on the hook. 
Continue until five are placed on 
the stem, letting the sides of each 
leaf lap the one over the other. 
The five remaining leaves should 
be put on in the same way, only 
slightly below the first five. Now 
cut ten leaves a size larger, and 
roll them on in the same way. 
Vary the arrangement of the last 
five, by placing the hollow outside 
instead of in. Cut ten more leaves 
larger still, and place them ona 
very little lower than the last ones, 
giving them a curve here and there 
as in the natural flower. Now 
cover the calyx with a narrow 
double strip of green wax. To 
make a half-blown bud, use half 
the number of leaves. Use the 
green sheet wax for the stem leaves, 
moulding them on as described 
under Lily, Pond. 

Vines: Materials required: 1 
spool fine green silk-covered wire; 
2 packages dark green wax; 2 ivy 


leaf-moulds (1 small and 1 medium 
size); 1 package white wax; and 1 
bottle deep carmine paint. The 


WAX 


illustration represents a branch of 
Irish ivy, one-third natural size. 
Cut the wire for the main stem any 
required length, and cut short 
lengths for the leaf stems. Dip the 
large-sized leaf-mould in water; 
shake off the drop, and then lay on 
it a piece of dark green wax, enough 
to cover it just over the edges. Press 
that down firmly, and then lay in 
the stem right in the centre, after 
which lay on another piece of green 
wax, pressing it firmly around the 
edges, when it will cut off just the 
shape of the mould. Moisten the 
edges of the mould, and remove 
the leaf. Make about twenty-five 
of the medium size, and twenty-five 
of the small-sized leaves, and then 
arrange them as near the copy as 
possible. These sprays are often 
used for twining round picture- 
cords, etc. 

WAX: MODELLING. Melt 
together 8 oz. beeswax, 8 oz. lead 
plaster and 8 oz. Burgundy pitch; 
add whiting to form a paste, and 
thoroughly mix all together.. 

WAX: MOULDING A FACE 
IN. Mix 1 1b. new wax with 5 oz. 
colophony over a slow fire. Oil 
the face with olive oil, covering 
the hair of the eyebrows, etc., with 
paste, and placing straws in the 
nostrils. When the wax is suffi- 
ciently cool to bear on the face, 
apply it with a brush to the thick- 
ness of about 7, in. Take the wax 
off gently, and strengthen it with 
clay on the back side; or it may be 
strengthened on the front side, and 
a plaster cast taken from the inside. 

WAX: TRANSPARENT. (1) 
Simmer together 2 oz. best white 
resin and + oz. white wax for 5 
mins.; then add } oz. tallow, and 
simmer for 10 mins. longer. Pour 
the wax out into water, and knead 
it with the hands. (2) Simmer 2 
oz. best white resin and 3 oz. best 
white wax in an earthenware pot 
for 10 mins.; then pour out into 
water, and knead it with the hands. 


WELDING—WHEEL-BARROW 


WELDING. Knock out the 
two pieces of iron or steel as though 
they were to be spliced together, 
only where the binding would 
come, leave the metal thicker. 
Heat both pieces till just on the 
point of melting. Place them 
together, and hit hard and fast, 
turning the bar round. When the 
metal becomes dull red, place a 
chisel along the joint, and hit it to 
see if the weld will open. If it 
does, the pieces must be taken 
apart, and the process repeated. 
The number of times the iron has 
to be reheated, and then knocked 
to shape, depends on the workman. 
To weld steel to iron, heat the iron 
most, as it is less fusible. Sal- 
ammoniac cleans dirt from steel; 
borax causes it to fuse before it 
obtains that heat which will cause 
it to burn; consequently a mixture 
of these two substances form one 
of the best fluxes for welding. 

WELL: FOUL AIR IN. 
Place a candle or lamp in a pail, 
and lower it down the well. Ifthe 
light continue to burn until the 
pail rests on the water, it will be 
safe to descend; if, however, the 
light be extinguished, the foul gas 
must be removed before it will be 
safe to descend. Lower a pail 
full of burning straw or shavings, 
or drop 2 or 3 qts. freshly-slaked 
lime down the well. Test with 
the light again before descending, 
and repeat if necessary. 

WELL: SHALLOW. Shallow 
wells drain water from the sur- 
rounding soil only; if it happen 
to be sunk in a water-bearing 
impervious stratum it is really a 
deep well. A shallow well is for 
this reason not fit for drinking. 
The well should always be kept 
covered, and the sides left rough 
for rats to escape. The well 
should be cleaned out periodically. 
The lining of the well should be 
concreted at the back, and steined 
with cement as far down as 


259 


possible. The well should project 
2 or 3 ft. above the ground level, 
and slope away in all directions. 
This slope should be paved or 
concreted. To excavate the well, 
dig down as far as possible with- 
out bricks or steining. Cut out an 
elm curb or hoop of two or three 
thicknesses, and lap-jointed, and 
lay iton the bottom. A half-brick 
ring is built on this curb, and 
steined outside with cement to 
make it water-tight. A thickness 
of concrete may be laid between 
the cement and the bricks with 
advantage. The excavation is 
then continued inside the curb. 
When a second section has been 
excavated, the earth supporting 
the curb is cut away with the 
exception of a few piers. A heavy 
wooden base is then placed on the 
bottom, and heavy wooden struts 
fitted from the centre of this base 
to the under side of the curb, and 
wedged firmly in place. The piers 
of earth can then be removed, and 
the inside built up for the second 
portion, placing a second curb on 
the bottom. When the brickwork 
of the second section is completed, 
the struts should be removed, 
and a third section made exactly 
as the second. This under-pinning 
process may be carried down as 
deep as desired. It should be 
remembered that the farther down 
a well is carried, the more 
dangerous the work becomes; 
also that the flow of water to a 
well is proportional to the cube 
of the depth. 
WHEEL-BARROW : PLANK. 
Use a board 12 in. wide of 1-in. 
well-seasoned elm or similar wood. 
Cut off the two sides 50 in. long 
over all x 12 in. deep, as shown in 
Fig. 1. Cut off one tail board 20 
in. long at the top, 18 in. long at 
the bottom x 12 in. deep. Cut 
off one front or head piece 12 in, 
deep, as shown in Fig. 2; the 
slope of this will take up 1 in., and 


260 


the round top 1 in., making together 
2 in., which will bring the front 
board to its proper depth. 


WHEEL- 


BARROW 


| that the circle touches the middle 


of each side, and cut it out. Use 


This | 14 in. x 14 in. ash or oak for the 
board should be cut off the same | axle. 


Have a tyre put on the 
outside of the wheel, and then 
make a very tight fit of the axle in 
the wheel. Cut off the axle, so 
that it will be an easy working fit 
when in place. Mark off the 
centre of the axle at each end, and 
drill two bare 4-in. holes about 4 in. 
down. Now taper off the axle, 
making it rounded, and about 1f in. 


2 diameter ateachend. Procuretwo 


breadth as the tail board, but as 
there are two 2-in. tenons on each 
side, the sides will slant together 
towards the wheel, making the 
barrow 4 in. narrower at the front 


end than at the back end. It is 
best to cut the mortises in the side 
pieces first, and then the tenons to 
fit them. The head board should 
be slanted, so that the distance 
from the handle to the top of it 
is equal to the distance from the 
handle to the bottom of it. When 
the head piece is fitted to the side 
boards, mark off the pin-holes. 
Separate again, and drill the pin- 
holes with a }-in. bit. Use 14 in. 
elm for the wheel. 


+ 14-in. slightly-conical ferrules to fit 


on the ends. Leave them a little 


E=-too small, so that they will not drive 


on to the ends of the axle; then 
heat them red hot, drive them on, 
and plunge them immediately into 
:cold water. The ferrules will be 
firmly shrunk on this method. 
Now drive into the 4-in. hole 
already drilled in the ends two 
pieces of full 3-in. iron, having 
previously pointed the ends. Bore 
a 4-in. hole in each side piece to 
receive the gudgeon, and drive into 
each hole a piece of ;5,-in. gas barrel, 
1 in. long, which will be about 4 in. 
on the outside. Fit the gudgeons 
into these bearings; fit the tenons 
of the head piece into the mortises, 
and drive the pins in lightly. 
Screw the tail board to the sides 


Strike out a | with six }-in. screws, 3 in. long. 


Dumpinc WHEEL-BARROW. 


circle 19 in. diameter for the out- | Now drive the pins through the 


side, and a 1} in. circle at the centre | tenons up tight. 


Fit the bottom 


to receive the axle. Now mark off | inside the frame, and fix in place 


a 1g-in. square on this circle, so! with 4-in. cut clasps. 


Cut two 


WHEEL-JACK—WHIPPLE-TREE 


pieces of ash 14 in. x 1 in. x 20 
in. long for the legs. Bevel one 
end of each from the flat side about 
4 in. down, and screw it on 
with two screws. Cut off the, 
bottom of the legs, so that they 
rest square on the ground. Illus. 
trations are also given of the 
scantling wheel-barrow, which is 


ScANTLING WHEEL-BARROW. 


extremely simple in construction; 
and the dumping wheel-barrow, 
which is very strong but not so 
simple to make. The wheels may 
in all cases be made as described, 
or bought ready-made, as shown 
in the illustration. 
WHEEL-JACK. Cut a piece 
of 14-in. deal 1 ft. square for a base, 
and set in it a curved piece of 2-in. 
wood 9 in. high x 9 in. wide at 
the base, with a mortise and tenon 
joint. Saw from 14 in. wood two 
pieces 4 in. broad x 3 ft. long; 
screw them vertically on to either 
side of the piece set into the base, 
for uprights, taking care that the 
bottom ends butt hard on to the 
base. Screw a distance piece 6 in. 
x 4 in. x 2 in. between them at 
the top. Bore ?-in. holes through 
both uprights in the clear 1 ft. 9 in. 
left, 3 in. apart, to rest the pin in. 
Make the lever from 2-in. wood 4 ft. 
long x 4 in. deep, 1 ft. from one 
end; it is shaped and tapered away 
frcm this point towards each end as 
desired. Bore a #-in. hole near the 


bottom of the deepest part of the | 


lever for the pin to work through, 
and drive bolts vertically through 
the lever on each side of the hole to 
prevent the wood splitting. Attach 
a chain to the bottom of one upright 


position. 


261 


and a hook in the lever, so that by 
hooking the chain on to the lever 
the jack may be kept in any 
Use a piece of 3-in. iron 


bar 6 in. long for the pin. 
lever may be pivoted through the 
different holes, so that different- 
sized carriages may be supported. 


The 


WHEEL-JACK: TEMPOR- 
ARY. To lift heavy waggons, take 
two heavy boards about 2 ft. long; 
place one board at the front of the 
wheel, one end on the ground, and 
the other board under one of the 
spokes close up to the felloe. Take 
hold of a spoke on the opposite 
side of the wheel, and lift, and at 
the same time place the second 
board under the axletree. 

WHIPPLE-TREE. Make the 
whipple-tree from split ash or oak 
from 30 to 34 in. long. If a 
staple be put through the centre, 
make from 1? in. square wood, but 
if a clasp iron or similar iron is 
used, 14 in. square will be sufficient. 
Lay the stick on one side, and 
mark off lines to each end, so that 
it will only be 1 in. broad at each 
end. Now plane off down to these 
lines; then plane the corners off 


) till it is octagonal, and then round 


off oval with a spoke-shave and file. 
The stick should then be 14 in, 
diameter at the centre, and 14 in. 
x lin. oval at the two ends, 


262 


WILLOWS: TO KILL. When 
the bark peels freely, cut it round 
the trees about 4 ft. from the ground, 
and strip it downwards, leaving it 
attached to the tree. Elms and 
other trees may be treated in a 
similar manner. 

WINDOWS: HOW TO HOLD 
UP. Bore three or four holes in each 
sash, and insert bottle corks, letting 
them project about ~, in. These 
will press against the window frame 
by their own elasticity, and prevent 
any slip. 

WINDOWS: TOPAINT. Give 
the frame two coats of white-lead 
paint before the glass is put in, even 
to those sold as ‘“‘primed sashes”. 
This will give a strong hold for the 
putty. 

WINDOWS: RATTLING. Ex- 
amine to find exactly where the 
window is loose. The jamb may 
be moved in most cases. If, how- 
ever, this would mean too much 
disfigurement, make some small 
side buttons, and put them on each 
side of the jamb. These buttons 
should be so adjusted that they 
may be turned with considerable 
pressure against the sash. Instead 
of buttons, a small wedge may be 
inserted between the sash and jamb. 

WIND-WHEEL. Cuttwosticks 
10 in. long from 1-in. square deal; 
halve them together at right angles, 
so that there are four arms each 
44 in. long. Hold it so that anarm 
. is upright, and mark the left-hand 
corner of the top arm, and the right- 
hand corner of the bottom arm; 
now turn it a quarter of a revolution 
and mark the two remaining arms 
as before. Chamfer each arm, 
working off the edge marked. Join 
the two sticks together, and drill a 
small hole through thecentre. The 
stick to which the wheel is attached 
should have a vertical fan or vane 
fitted at one end; the other end 
should be rounded. Now drive a 
french nail through the hole in the 
wheel and into the rounded end of 


WILLOWS—WOOD 


the stick. The wheel should rotate 
easily on this nail. If one arm has 
a tendency always to be at the 
bottom, cut it away a little, till the 
wheel is balanced. A tin washer 
may be put on the front to prevent 
the nail head wearing into the 
wood. After the wheel is set, get 
the balancing-point on the stick 
between the wheel and the vane, 
and bore a hole. Drive a nail 
through this hole into a vertical 
centre post, which should be 
rounded a little at the top; file off 
the head of the nail, and drop on 
the shaft. 

WIRE: TO STRAIGHTEN. 
Drive hard wooden or iron pegs 
into a board almost in line, but 
slightly zigzag. Insert the wire 
between these pegs, so that it is 
almost straight, but it also is bent 
zigzag slightly in the opposite direc- 
tion; then pull the wire through. 
If the wire be fine, pull it over a 
round wooden handle. If it be 
heavier but soft, it may be straight- 
ened by pulling it through the pins 
or by rolling between two hard 
boards, 

WOOD: TO FELL. Ifthetree 
be felled before its prime, it con- 
tains a great deal of soft sap-wood ; 
if it be felled at its prime, it contains 
its maximum amount of duramen 
or heart; but after its prime has 
passed, the duramen begins to rot 
in the centre. When the growth 
of leaves at the top begins to grow 
less, the tree is just at, or passing 
its prime. The bark is sometimes 
removed about six months before 
the tree is felled, and it is claimed 
that wood treated in this manner 
requires less seasoning. It is best 
to fell the trees in mid-summer or 
mid-winter—preferably mid-winter. 
If the tree be felled in mid-summer, 
let the leaves remain on the tree 
till they have sucked up as much 
sap as they will. 

WOOD: GRAINLESS. (1) 
Glue wood shavings in layers, the 


WOOD 


grain of any one layer being at 
right angles to the grain of the 
layers above and below; then roll 
thoroughly with a rolling-pin, and 
leave to dry under pressure. A 
board thus formed is as strong as 
wood, will not split or warp, can be 
used as papier-maché, and is also 
useful for complicated turnings, 
etc. (2) A very smooth surface 
may be made by mixing paper 
or parchment pulp, fret sawdust 
and glue to a thick putty. Leave 
it to dry under pressure. A cast 
of anything may be taken with this 
pulp if the article be first coated 
with tallow, then paper, and then 
the pulp applied. Inthis way small 
canoes are readily made from ex- 
isting boats. (3) Dry lime-wood 
sawdust in front of a fire; grind it 
to a powder, and sift it through 
cambric. Boil 1 part gum-traga- 
canth, 1 part gum-arabic and 6 
parts parchment size in water, and 
filter it through linen. Stir in the 
powdered wood, and work together, 
adding the wood gradually till the 
mass is like thick putty or pastry. 
Then stir in a little scent and the 
required colouring matter. Place 
the wood pulp in a glazed crock in 
sand, and heat gently, stirring all 
the time, and when very thick cast 
it in mould, or dry under pressure. 
20 parts water to 1 part glue or 
linseed oil varnish may be substi- 
tuted for the gum and size. This 
pulp when dry has the consistency 
of ivory, and is specially suitable 
for casting fancy articles. 

WOOD: TO HARDEN. Boil 
the wood if small for 8 to 10 mins. 
in olive oil, and then let it stand 
in a warm place for a few days 
before using. 

WOOD: TO PRESERVE. (1) 
Dry the wood, then place it in a 
barrel containing a solution of 1 
part copper sulphate in 10 parts 
water. Leave it there for several 
days, then take it out, and dry, 
then immerse in creosote. Take 


263 


it out again, dry, and immerse a 
second time in the creosote. The 
commercial method of creosoting 
wood is to immerse the dried woo 
in creosote under a pressure of 15 
to 200 Ib. per sq. in. (2) Pile the 
planks in a tank, put over all a 
layer of quicklime, and gradually 
slake with water. The timber 
requires from 1 to 8 days to be- 
come impregnated, depending on 
its quality and thickness. 
WOOD: HOW TO SEASON. 
Boards should be stacked im- 
mediately they are sawn. If they 
be left only for a day or two on 
the ground before being stacked, 
they may be very seriously 
damaged. Place 3 in. square 
pieces of scantling parallel to each 
other on the ground about 6 ft. 
apart, and place the freshly-sawn 
boards on the top of, and at right 
angles to them. If the boards be 
12 ft. long, one scantling will 
support one row of ends, another 
scantling the middles, and the 
third scantling the other ends of 
the boards. The boards should 
be so arranged that there is a gap 
of 1 in. between the edges of those 
next to each other. After the 
first layer has been arranged, 
support a second layer on the top 
of the first in a similar way; a 
third layer is erected on the top of 
the second, and so on until all the 
boards have been stacked. This 
will insure a free circulation of 
air round each individual board, 
which is essential. The boards 
must be protected from the sun 
and rain by a light roof. To 
prevent the ends from splitting, 
saturate hydrochloric acid with 
lime, and apply it like wash to the 
ends. After a few months the 
boards should be pulled down and 
restacked. Itis best to replace the 
boards, and turn each one over in- 
dividually, so that the sides which 
were uppermost are restacked at 
the bottom. The boards should be 


264 


left to season for from two to six 
years, but the longer they are left 
the better; timber used for very fine 
work is often seasoned for twenty 
years and upwards. Some woods 
often shrink every time the surface 
is planed off. Such timber should 
be planed, and then exposed to the 
sun and wind for about a fortnight. 
If the wood be required for use in 
two or three years, the planks may 
be stacked vertically, the top ends 
being the ends which were highest 
when the tree was growing. Wood 
thus treated will shrink a little, 
but not much. If a tree be cut 
down in mid-summer, and the 
leaves left on till they fade, and 
then sawn up into planks, it will 
not require quite so long to season. 
Non-resinous woods may be 
seasoned for almost immediate use 
by boiling them in water for a few 
hours, and then exposing them to 
the atmosphere, shaded from the 
sun and rain, for a few weeks. 
The method is not, however, so good 
as stacking. No wood can be 
absolutely guaranteed not to shrink 
after being made up, but the 
safest plan is to stack for a number 
of years. To season wood in logs, 
stack with good air circulation, 
and sheltered from direct sun and 
rain, as for boards. Logs contain- 
ing a lot of sap should be quartered 
soon after they are cut, or they 
will crack. To quarter, first split 
them down the middle, and then 
split the halves in half again. 
Logs of resinous wood, or logs 
containing a medium amount of 
sap, should be squared immediately 
the tree is felled. To square, cut 
the bark and outer wood off till 
the log is approximately four sided. 

WOOD: TO SELECT. The 
best and strongest wood is that 
which has its rings close together, 
and of a uniform width, and which 
also has long and well-marked rays. 
A board cut radially from a log 
with the rings across it at right 


WOOD 


angles is best, for it is not so liable 
to warp. Resinous wood should 
have little resin in the pores; non- 
resinous woods little sap. On 
sawing, the wood should have a 
firm surface, and the saw should 
run easily without the teeth 
getting clogged. Logs should be 
free from all shakes, bruises and 
deformations. If the wood be 
spongy near the middle, the tree 
has passed its prime, and has 
begun to decay. If a log be split 
straight down, it does not matter 
much; but if it be split spirally, a 
great deal of wood will be wasted 
in sawing up. The strongest part 
of a good log is the centre portion, 
known as duramen, the wood nearer 
the bark as alburnum or sap-wood. 
A maximum amount of duramen 
should be obtained with good 
wood. If the log be struck at one 
end, and the ear held at the other, 
the sound should be sharp and 
almost metallic—not dead. The 
following are terms by which 
timber of different sizes is techni- 
cally known :— 
~ Plank = Sawn timber 11 in. or 
more x 2to 4 in. thick. 

Deal = Sawn timber 9 to 11 in. 
x 2 to 4 in. 

Board =7 to 11 in. x under 2 in. 

Quartering = Sawn timber 3 to 4 
in. x 2 to 3 in. : 

Batten = Sawn timber under 7 
in. x under 2 in. 

WOOD: HOW TO SPLIT. If 
logs are to be split for firewood, set 
them up so that the top end is 


the end which was uppermost in 
growing. Work from the outside 
to the centre, splitting off slabs. 
The slabs may be readily split up 


WOOD 


into sticks by holding them in a 
crotch stick, or by two logs staked 
to the ground 6 to 8 in. apart, as 
shown in the illustration. Logs 
split easier when green than when 
partially seasoned. To prevent 
wood splitting, place it in paraffin 
wax in a water bath, and boil it 
until all bubbles cease to rise from 
the wood. The whole is then 
allowed to cool to about 120° Fahr., 
when the wooden article is taken 
out, and the superfluous paraffin 
wax removed with a coarse cloth. 
(See also Woop (How To Season)} 

WOOD: HOW TO STEAM. 
Wood naturally tough, such as oak, 
ash or hickory is best. Use only 
the best split, not sawn, wood free 
from knots, and dress it down to 
nearly the required size. If the 
articles be small, leave them to 
soak in boiling water till soft 
enough. Larger pieces of wood 
may be buried in a box of sawdust, 
and boiling water poured over 
them, and left for 4 hour. The 
box should be fairly air-tight, and 
placed in front of a fire. A steam 
box is nearly alwaysused. This may 
be made from four 14-in. red deal 
boards 6 to 8 ft. long x 10 to 12 in. 
wide. Nail all the boards together 
to form a tube, with white-lead 
paint between the joints. Nail 
one end in solid, and hinge the 
other end. Elevate this box on 
trestles; cut a hole 4 in. square in 
the bottom near the solid end, and 
fix in a square wooden tube, so 
that the bottom end of it extends 
down into a tight wooden cover 
of a common stove pot or kettle. 
The kettle may be raised on 
stones till the cover fits tightly. 
Another way is to solder a piece 
of lead tube into the lid of the 
kettle, and fit the other end of the 
tube tightly through the bottom of 
the box. This is good because the 
tube is comparatively flexible. By 
boiling water in the kettle the box 
will be filled with steam, which 


265 


will escape at the hinged end. A 
cork should be fitted into the spout 
of the kettle for a safety-valve. As 
a rule a stick 2 in. square will 
require 4 hr. steaming. Brittle 
wood requires longer steaming 
than wood naturally tough and 
flexible. To make the template to 
bend the wood upon, shape a piece 
of, say, 2 in. plank to the shape 


the concave side of the article is 
to be. About 2 in. from the tem- 
plate boresa line of l-in. holes 
about 6 in. apart where the curve 
is sharp. Make a set of hard wood 
pins to drive in these holes, and 
then a _ corresponding set of 
wedges. A piece of iron hoop may 
be used on the convex side of the 
wood to be bent, to prevent the 
grain of the timber giving way. 
If the hoop be long enough to reach 
the whole length, the iron may be 
bent over the ends of the stick, 
and tacked there. If the iron only 
reaches over the part to be bent, 
drill a hole through the iron at one 
end, and fasten it to the stick with 
a short screw, so that the ends of 
the wood and the iron are even, 
The iron should be attached to the 
stick before it is placed in the 
steam box. When the stick is 
sufficiently steamed, take it from 
the box, place the end between a 
pin and the template, drive in a 
wedge to make it firm, and then 
bend evenly and quickly, putting 
in pins me | driving in wedges as 
required. Let the wood lie pressed 
against the template till thoroughly 
dry; if it be taken out before it is 
dry, it will spring. 

WOOD: VARIETIES OF. 
Ash: Sp. Gr. =°75. Hard, tough 


266 


and durable. Used for wheels, 
tools, etc., and is very suitable for 
steaming and bending. That which 
has grown on rich, marshy lands 
is considered the best. 

Beech: Sp. Gr. = °75. Hard and 
well marked. Used for barrels, 
tools, domestic articles and cabinet 
work. 

Ebony: Sp. Gr.=1'2. Very 
hard and brittle. Used for furni- 
ture and ornamental inlaying. 

Elm: Sp. Gr. = ‘53. Very coarse 
grained and liable to warp. Is 
hardened by immersion in water. 
Used for piles, coffins and agri- 
cultural implements, but is not 
suitable for outdoor sheds, etc. 


Greenheart: Sp.Gr.= 1:1. Very 
hard and elastic. Is hardened by 
immersion in water.» Used for 


piles, coach-building, fishing-rods, 
etc, 

Hickory: Sp. Gr.=1:0. Hard 
and elastic. Used for barrels, 
zoach-building, fishing-rods, etc. 

Holly: Sp. Gr. =*76. Very hard 
and tough. Used for ornamental 
inlaying and work generally, 
turnery, etc. 

Larch: Sp. Gr. =°6. Light and 
strong. Is toughened by exposure 
to the atmosphere, and harderied 


by immersion in water. Used for 
floorings, boats, etc. 
Lignum Vite: Sp. Gr. = 1°25. 


Hard and oily. Used for bearings. 
Mahogany: Sp. Gr.=°6 to ‘9. 
Very variable. The Spanish variety 
is better marked but rather brittle. 
Used for best joinery and cabinet 
work. This wood becomes darker 
by exposure to sunlight, or by 
being kept in a living-room. 

Oak: Gr. = "75. to 95. 
English oak is heavier and harder 
and better marked than’ the 
American variety. English oak is 
used for agricultural implements, 
joists and building generally. 
American oakis used for ship- 
building. The rings should be 
close, thick and uniform; the wood 


4s considered the best. 


WOOD 


shouid have a glossy varnish-like 
appearance when cut, and should 
be of astraw colour. Oak becomes 
lighter by exposure to sunlight, but 
darker by being kept in a living 
room. 

Pine: ‘Yellow-pine”: Sp. Gr. 
=°'5. Not very strong, but free 
from knots. Is destroyed by immer- 
sion in water, and becomes brittle 
by exposure to the atmosphere. 
Yellow-pine from St. Petersburg 
The body 
colour should be light yellow, and 
the rings an opaque brown. It 
should have no smell. Pitch- 
pine: Sp. Gr. = 65 is very 
tough, resinous and _ durable. 
Used almost universally where it 
can be kept dry or painted. The 
yellow body colour should be 
bright, and the redder the rings 


the better. The rings should also 
appear translucent, and _ smell 
resinous. 


Rosewood: Sp. Gr. = 1:2. Tough 
and close grained. Used for best 
cabinet work and furniture gener- 
ally. 

Teak: Sp. Gr. = °75. Tough and 
very durable. Is hardened by 


immersion in water. Used for 
ship-building. 
Walnut: Sp. Gr.=°65. Hard 


and finely marked. Used for best 
cabinet work and furniture gener- 
ally. This wood becomes lighter 
by exposure to sunlight, but darker, 
by being kept in a living-room. 

Yew: Sp. Gr. =°8. Very tough 
and. elastic. Used for furniture, 
bows, arrows, etc. 

WOOD: WARPED. Ifa fairly 
thin piece of wood be warped, 
moisten the concave side with a 
damp sponge till it flattens out. 
Then glue very thin shavings from 
some tough wood across the grain 
onthe back. One layer of shavings 
will often be found sufficient. 
Parchment may be substituted for 
the shavings, but it should be 
glued on in strips, not in one piece. 


WOOD—WOOLLENS 


WOOD: WORM-EATEN. 
Dissolve 2 drs. corrosive sublimate 
in 2 oz. methylated spirits and 
2 oz. water, and apply with a 

brush. Then make up a “filler” 
from sawdust of the same wood 
and glue, and fill up all the holes. 

WOOLLENS: HOW TO 
CLEAN. Mix salt and warm soft 


267 


water in atub to a weak brine; then 
add 1 gal. warm lye and enough soda 
to make good stds when stirred. 
Put in as much wool as the vessel 
will hold, and leave over night; 
then wash out, and rinse in cold 
water. [See also BLANKETS (HOW 
TO CLEAN), and FLANNEL (How 
TO CLEAN)] 


APPENDIX. 


DRILLING METALS to the 
novice is frequently an arduous 
task, and to lighten it the following 
method is given to enable holes to 
be drilled accurately and expedi- 
tiously with some reduction of 
labour. 

Turn a piece of steel to the dia- 
meter required, less ;;45 of an inch 
of the size of the hole to be made; 
then file away two sides until the 
thickness is about one-fourth the 
diameter, commencing below the 
part that forms the shank. Bevel 
the point in the usual way and 
back off the edges to form cutting 
angles; then make a hollow on the 
cutting face until the edges are 
keen. After hardening grind the 
point from both sides until it is 
about the size of the point of a 
small drill. 

This drill will cut quickly, and as 
fast as a first-class twist drill; but 
the twist drill, forced through at a 
fast speed, will leave the hole as if 
it had been threaded, whereas the 
drill made as described will work 
equally as fast, but the hole will be 
as if it had been rosebitted. With 
the drill metals can easily be pierced 
with holes. 

HYDRAULIC RAMS are used 
as pumping engines, and are gener- 
ally installed away from where 
expert assistance can be obtained ; 
therefore it is a good thing to know 
how to remedy an evil when it 


occurs without having to await the 
coming of an expert. 

When failure occurs the first thing 
is to see that the valve seats are free 
from a leaf or dirt. If these are 
clean see that the valves seat them- 
selves properly, because faulty 
valve faces are frequently the cause 
of serious trouble. 

Keep the region of the ram free 
from leaves and detritus, which are 
brought down by the flowing water. 

The valves should be ground on 
by the ordinary process. 

Periodical cleaning and an ex- 
amination of the valve faces will 
well repay the trouble expended. 
The valves should not be loaded 
because the ram action is due to the 
rebound of water against the dash 
valve, and water is pumped by first 
compressing the air; then the re- 
bound acts as the force to raise the 
water. 

Thus, it is seen that well-fitting 
valve faces are necessary, and a 
clean ram chamber. 

HYDRAULIC PRESS LEA- 
THERS. The U leather is gener- 
ally used, and a good plan is to fill 
the U with fine flax which has been 
soaked in boiling tallow. Occasional 
attention is necessary because the 
packing is inclined to te, Nas under 
water contact. Take out the flax 
packing and separate the fibres, and 
after cleansing it apply the boiled 
tallow. 


268 


If this is attended to properly, 
much loss of power will be pre- 
vented, and this means a saving in 
time and money. 

Such packing must be loose 
enough to allow the ram to fall by 
its own weight within the cylinder. 

LESSENING THE NOISE 
CAUSED BY RUNNING MA- 
CHINERY. Noise is due to vi- 
bration, but there may be vibration 
without noise, and where vibration 
occasions noise it can be prevented 
from being a nuisance. To prevent 
noise being carried from one build- 
ing to another dig outa trench on 
the side of the wall on which the 
machinery is situated deep enough 
to uncover the foundations for a 
distance of about 1 foot from the 
wall. 

Fill in the trench with dry sand 
in which are imbedded the uprights 
of a wooden frame. The frame 
may be made of 13 by 6 inch floor 
boards placed edgewise to the wall 
face and standing an inch or two 
away from the wall, the top ends 
being secured to wooden studs 
driven into the wall. The outer 
face of the frame must be sheeted 
with thin matchwood, and as each 
width is added the space between 
the wall and the wood must be 
filled with dry sawdust right up to 
the top of the framework, but the 
frame must not be secured to the 
floor above. 

This plan is effectual, and will be 
successful even if printing ma- 
chinery, engaged on newspaper 
work, is the cause of the noise, and 
on the other side of the wall there 
may be a platform of a public hall. 

The vibrations are not destroyed, 
but they are distributed amongst so 
many particles of matter that the 
noise is practically eliminated. 

MOTOR CYCLES. Frequently 
a motor-cycle or motor-car will fail to 
work well, and a common cause of 
failure is over-oiling. When an 
engine that has worked well hither- 


LESSENING—MOTOR 


to becomes erratic in its movement 
probably over-oiling ora dirty cylin- 
der is the cause. 

If a motor-cycle, place it on its 
stand, then open the bottom drain- 
cock and after disconnecting the 
firing terminals, pedal strongly until 
the dirty oil has been pumped out. 
Now pour some petrol into the 
grease-tap and pedal again, and do 
so until the discharge from the drain- 
cock is nearly clean petrol. Con- 
nect up the terminals, and re-oil, 
and more often than enough the 
engine will run well and strongly. 

If the engine still works errati- 
cally examine the batteries to see 
that they are not exhausted, and 
also the terminals to see that they 
are sound. The sparking plug 
should be clean after the operation 
of cleaning out the cylinder. 

Frequently the cause is due to 
short circuiting between the contact 
plates of the commutator, and the 
cause is metal particles that are 
worn off and span the gap. When 
this is the case wash out the com- 
mutator with petrol and clear away 
the ragged parts on the edges of 
the contact plates. 

A large commutator may be more 
expensive than a smaller one, but 
the extra expense is easily covered 
by less liability to short circuit. 

The contact points of all electric 
or magneto connections must be 
kept clean and free from loose par- 
ticles that will cause short circuits. 

Firing-Moment : The correct posi- 
tion for the firing moment is 
when the piston is within an 4 
of the complete inward stroke. 
When this is correct the regulating 
lever should be about midway of its 
limit movement. This will allow 
the sparking to be advanced or re- 
tarded according to the number of 
revolutions made by the engine. 

If all these things are correct and 
the engine shows a loss of power 
the inlet and exhaust valves should 
be examined. A simple test to 


MOTOR CYCLES 


prove whether the seats are correct 
or not is to wipe the faces; then 
draw a piece of chalk across the 
face, when a few turns will prove 
its accuracy. If accurate the chalk 
mark will be carried around the en- 
tire circle of the face, and by repeat- 
ing the operation the other face 
can be tested as easily. 

If the faces are not in good con- 
tact, some grinding material anda 
few circular turns of the valve will 
likely bring the faces together. 

Should all these attentions fail the 
piston rings may be at fault, and this 
can be corrected to enable the 
machine to be got home without 
further delay, when new rings can 
be inserted. 

Loss of power due to faulty and 
bad-fitting rings may be remedied 
temporarily by placing the surface 
of the outside of the ring on a hard, 
bright or smooth surface; then 
carefully go over the inside of the 
ring with the small ball face of a 
hammer or its pean if so provided. 
This must be done carefully and 
slowly, when the consecutive ham- 
mering will expand the ring so 
that when it is replaced it will fill 
the cylinder. The joints will be 
wider apart, but the engine will 
be able to work with sufficient 
power to make even a long run. 

New rings should be fitted at the 
earliest moment to avoid loss of 
power past the open ends of the 
rings. 

Even this may not make matters 
right, but it will show that the 
fault rests with the mixture. 

The Mixture: Petrol or spirit 
vaporised is one ingredient in the 
power factor, but unless a correct 
mixture of air and vaporised spirit 
is obtained the engine cannot work 
properly. 

Weather conditions affects the 
value of the air supply with the 
result of altering the mixture. 

In cold dry weather, or in dry 
summer weather the air volume is 


269 


light in unit weight, necessitating 
a larger volume to allow for loss of 
unit weight. In heavy, muggy 
weather a less volume is needed for 
an equal weight. Experience is the 
best test for quality of mixture, and 
the driver should be alive to the ne- 
cessity of altering the volume of air 
admitted to suit conditions. 

One supply of petrol is the best 
for all occasions and for all speeds, 
in fact it is invariable within limits, 
therefore air regulation is important. 

When an engine is revolving 
slowly the petrol is sucked up 
similar to a string of beads, therefore 
less air is required than when the 
engine is revolving fast; when the 
petrol is sucked up as a continuous 
stream, as asolid cord, more air is 
needed. 

Generally an experienced driver 
knows by intuition the quantity of air 
required for different speeds of en- 
gine, so he naturally tries to produce 
a good mixture. 

Variation of the air supply occurs 
under normal weather conditions, as 
an open road means a light air 
volume per unit weight, whereas 
under the cover of trees the atmos- 
phere is heavy, and a less volume of 
air for the unit weight must be 
arranged for. 

The proportions between air 
volume and liquid petrol volume are 
very wide apart; therefore the re- 
latively small volume of petrol is 
difficult to control, whereas the 
much larger volume of the air used 
can be controlled effectively. 

This indicates the wisdom of con- 
trolling the manufacture of mixture 
suited to conditions, which can be 
accomplished most economically by 
the air control. 

It is only necessary to point out 
that the experience of motor drivers 
is that an engine runs better under 
night conditions than under those of 
the day, and the cause is the denser 
atmospheric conditions of the night 
air. 


270 


The petrol volume in the liquid 
State is exceedingly small per pound 
weight, whereas the air volume is 
infinitely large, therefore it is 
economical to control the larger 
volume, besides it is easier to ac- 
complish than the control of an ex- 
ceedingly small volume. Thus, re- 
gulating the speed of an engine by 
controlling the air supply is econom- 
ically wise. 

Belts: It saves power, mitigates 
annoyance, and adds to the speed 
of a motor-cycle, when belt driven, 
if the belt is regularly taken off the 
machine, thoroughly scraped, and 
washed with hot water and soap; 
then, when dry, several coats of 
castor oil should be applied and 
allowed to dry. 

This will leave the belt supple ; 
yet it will drive well even when the 
belt is slack enough to be pushed 
together with the finger to about # 
of the normal distance apart. 

Even heavy driving belts, so 
treated, will give good results and 
well repay the trouble and time em- 
ployed in cleansing them. The 
same reasoning applies to leather 
faced clutches, or brake bands; they 
last longer, are more reliable, hold 
better by keeping them clean and 
the leather supple. 

Chains: Chains should be run 
as slack as possible, in fact slack 
enough just short of riding over the 
teeth of the sprocket. They should 
be taken off at least once a week 
when in continuous use, then boiled, 
and after being allowed to dry, care- 
fully oil all the joints. This will 
increase the life of the chain and add 
to its driving power, by eliminating 
friction due to dirt. 

Silencer : A noisy silencer means 
either a bad mixture or a foor 
piston, and such noise always 
spells waste power. No explosion 
can occur if there is nothing to ex- 
plode. Excess of petrol or lack of 
it is productive of noise, which is 
avoidable by attention. 


MOTOR CYCLES 


A bad mixture causes misfires and 
they mean noise and lost power. 
If a silencer is of ample size the ex- 
plosive mixture discharged from the 
cylinder need be of little nuisance; 
but an explosive mixture that in- 
cludes crude petrol will explode in 
the silencer and cause excessive 
noise. When riding against a wind 
misfires will probably occur, but 
they may be mitigated by cutting 
down the air supply. Generally a 
noisy silencer indicates an inexperi- 
enced driver, and always a waste of 
power. 

Tyres: A loose flabby tyre is 
always a cause of trouble, and the 
looser it is the greater is the surface 
exposed to the ground to act as a 
sucker to be overcome as the wheels 
revolve. A loose tyre means a 
smaller wheel radius and more rey- 
olutions to attain a given speed ; thus 
a hard tyre saves power and pre- 
vents slip when the roads are greasy, 
because less surface is exposed to 
the road. On many stretches of 
road greasy surface is struck, as 
under the shadow of trees where the 
roadway is laid with limestone. Hard 
tyres are best under all conditions 
and wear out less rapidly than when 
allowed to run flabby. On greasy 
roads hard tyres mean less side-slip 
and better speed on a lower power. 

Brakes: All surfaces must be 
kept clean, and all connections 
should be substantial, with a very 
high factor of safety. When wire 
connections are used frequent ex- 
amination is necessary to prevent 
mishaps that may be serious, be- 
cause the alternate bending and 
straightening of a wire soon de- 
stroys the strands. The brake 
should be strong enough to hold 
its own against the full power 
of the engine, and this is usually 
the footbrake. It is considered to 
be bad practice to use the foot lever 
of the clutch to regulate the speed 
in traffic; it may be bad practice, 
but, like the speed gears in general 


MOTOR—REGILDING 


use that are considered an abortion 
of mechanical action, they are 
hard to beat; so regulating the 
speed by the clutch may be bad, but 
it is effectual and easy; for this 
reason such clutch gear should be 
of ample strength and retained in a 
high state of efficiency. 

Differential: This should be 
kept clean, as all working parts 
of a motor-cycle or car; but some 
restraint should be imposed upon 
too free an action which contributes 
to side-slip. The idea that the dif- 
ferential is largely contributory 
to side-slip is gaining ground. It is 
quite easy to prove that the idea is 
correct; therefore restraining its 
too free action is a_ safeguard 
against excessive side-slip, which is 
an actual danger. 

Petrol-storage : Petrol 
should be cleaned out fre- 
quently, because carelessness in 
this direction contributes to a bad 
mixture with its attendant evils. 
The dirt is usually of an attrititive 
character that acts as a scouring 
medium when admitted to the 
cylinder, and this means a reduced 
life for the apparatus, 

Oiling : Too much oil is as 
bad as too little, because both ex- 
tremes lead to eventual stoppage. 
No oil produces the result more 
rapidly than too much, but the 
eventual end is the same stoppage— 
loss of time and waste of money. 
Oiling regularly and consistently is 
the saving clause in all motor opera- 
tions. 

Head-lights: These are in- 
tended to show the driver the road 
before him, and not for the purpose 
of blinding other drivers or annoy- 
ing pedestrians. When the greatest 
length of the beams of light are con- 
centred on the road before the 
car the best is reached, and an- 
noyance to others is reduced to the 
utmost limit. 

Regulate the light by adjusting 
the lamp bracket, so that the 


tanks 


271 


beam of light is projected on to the 
road, well in front of the car. 

As a general statement, it is wise 
to “Let well alone”. The meaning 
is that many make experiments that 
are best left alone. Before anything 
is touched a clear reason must be 
given before doing it. 

Serious matters are best left to 
the expert, but it is a good thing 
when the driver knows why an ex- 
pert does things. 

It is the cheapest plan to keep 
every working part clean, and the 
veriest novice can do that. 


Gas and Oil Engines: What 
has been said of the motor-car engine 
equally applies to both gas and oil 
motors with one exception, the 
oil engine requires a vaporiser, 
which probably cannot be made or 
mended by the novice; but it can be 
kept clean and free from carbon de- 
posit. Temperature isthe important 
factor, and where this is attended 
to both time and expense are saved, 
and power is fully utilised. Regu- 
lating the air supply is necessary 
both for gas and oil engines, and 
weather conditions must be studied. 

The various points indicated in 
regard to the motor-engine are 
equally important, and keeping 
valves, pistons, and mixture right 
aids the end in view—the use of 
power that pays. 

REGILDING PICTURE AND 
OTHER FRAMES. Whena frame 
requires regilding use bronze powder 
and terribene mixed; about a six- 
penny packet of gold-bronze powder 
and twopenny worth of terribene will 
be sufficient for about 6 square feet 
of surface. 

After cleaning the surface, apply 
the mixture with a camel-hair brush, 
and after it is dry cover with one 
coat of light-coloured varnish. 

The new coat will look well and 
last a long time, and be equal to the 
more costly gilding process. 


272 


TO REMOVE RUST. When 
tubes are coated with oxide of rust 
it can be removed by frequent ap- 
plications of paraffin,which must be 
allowed to dry, when the oxide can 
be brushed off with wire brushes. 
If pitting has not occurred, a coat of 
black will restore the surface to its 
original newness. 

SOFTENING HARD WATER. 
Fill a wicker basket with unslaked 
lime and place it about a foot below 
the surface of the water retained in 
a tank. If water is drawn off from 
above the basket the water will be 
found to have lost its hardness, 
where excess of lime is the cause. 

Water that is hard by matter in 
solution requires different treat- 
ment, but, generally, hard water is 
due to lime in solution, when the 
extra lime precipitates the lime in 
the water, bringing it down as a 
sediment, which requires removing 
as required. 

Very little experience will give 


RUST—SOLDERING 


the period during which the added 
lime is effective. As a test, if the 
water taken from above the basket 
will lather freely under a soap test, 
it is soft; if not, itis hard, and fresh 
lime is needed. 

SOLDERING CAST IRON. 
As an expedient of a temporary char- 
acter this is accomplished by sub- 
jecting the clean and newly fractured 
surfaces to friction with a piece of 
soft brass until the whole surface 
presents a brassy appearance, then 
it is tinned in the usual way, and it 
can be soldered easily. 

Sometimes part of a casting ona 
motor-car breaks which cannot be 
replaced; therefore being able to 
solder it becomes a saving factor to 
avoid serious detention. 

The repair is only temporary, but 
it is effective, though a new part 
must replace the fractured article at 
the earliest possible moment, that is 
when it can be obtained. 


ALTERNATIVE NAMES OF MATERIALS MENTIONED 
IN THE BOOK. 


Ammonium chloride = Sal-ammo- 
niac. 

Aqua fortis = Nitric acid. 

Barium sulphate = Permanent 
white. 

Bleaching powder = Chloride of lime 
(commercial); or Hypochlorite of 
lime. 

Blue copperas = Copper sulphate. 

Blue vitriol = Copper sulphate; or 
Cupric sulphate. 

Boot powder = French chalk. 

Calcium carbonate = Whiting. 

Calcium fluoride = Fluor spar. 

Calcium sulphate = Gypsum. 

Canada balsam = Fir balsam. 

Caoutchouc = India-rubber. 

Caustic potash (solution) = Liquor 
potasse. 

Chlorhydric acid = Hydrochloric 
acid; or Muriatic acid; or 
Spirits of salts. 

Chloride of lime (commercial) = 
Bleaching powder. 

Citric acid = Salts of lemon. 

Colophonium = Resin. 

Copper sulphate = Blue copperas; or 
Blue vitriol; or Cupric sulphate. 

_Corrosive sublimate = Protochloride 
of mercury; or Bichloride of 
mercury. 

Cupric sulphate=Copper sulphate ; 
or Blue vitriol; or Blue copperas. 

Ferrous sulphate =Green copperas. 

Fir balsam = Canada balsam. 

Fish glue = Sturgeon’s bladder. 

Fluor spar= Calcium fluoride. 

French chalk= Boot powder. 

Green copperas = Sulphate of iron. 

Gum thus = Venice turpentine. 

Gypsum = Sulphate of calcium. 

Hartshorn = Solution of ammonia. 

Hydrochloric acid=Muriatic acid; 
or Spirits of salt; or Chlorhydric 
acid. 

India-rubber = Caoutchouc. 

Iron sulphate=Ferrous sulphate ; 
or Green copperas. 

Killed acid = Zinc chloride; 
Killed spirits. 


or 


(273) 


Killed spirits = Zinc chloride; or 
Killed acid. 
Lime hypochlorite = Bleaching 
powder; or Chloride of lime. 
Liquor potassze = Caustic potash 
(solution). 

Mercuric bichloride = Corrosive sub- 
limate. 

Mercuric protochloride = Corrosive 
sublimate. 

Muriatic acid=Hydrochloric acid; 
or Spirits of salts. 

Nitrate of potash= Saltpetre. 

Nitric acid = Aqua fortis. 

Pearlash = Salts of tartar. 

Permanent white = Barium sul- 
phate. 

Plaster of Paris=Calcic sulphate. 

Potash = Potassa. 

Potassa = Potash. 

Putty powder = Tin oxide; 
Stannous oxide. 

Resin = Colophonium. 

Sal-ammoniac = Ammonium chlo- 
ride. 

Sal-soda = Washing soda. 

Salt = Sodium chloride. 

Saltpetre = Nitrate of potash. 

Salts of lemon = Citric acid. 

Salts of tartar =Pearlash. 

Silicate of soda= Water-glass. 

Sodium chloride = Salt. 

Spirits of salts = Hydrochloric acid; 
or Muriatic acid. 

Stannous oxide= Putty powder ; or 
Tin oxide. 

Sturgeon’s bladder = Fish glue. 

Tin oxide = Putty powder ; or Stan- 
nous oxide. 

Venice turpentine =Gum thus. 

Water-glass = Silicate of soda. 

White copperas = Zinc sulphate; or 
White vitriol. 

White vitriol= Zinc sulphate; or 
White copperas. 

Whiting = Calcium carbonate. 

Zine chloride = Killed spirits; or 
Killed acid. 

Zinc sulphate = White copperas; or 
White vitriol. 


or 


18 


INDEX. 


ABUTILON: Wax Flower—252. 

Acip: —Glue 111 (liquid) ; —Stains, 
removing, 219. 

ACID-PROOF: —Cement 
(stone). 

AZOLIAN Harp: 1. 

AIR: Foul—, in wells, 259. 

ALARM: Burglar—1; —Clock 1 
(electric). 

ALLoys: Bearing 2; Bell 2; Brass 
2; Britannia-metal 2; Pewter2; 
Solder 213; White-metal 2. 

AMBER: —Cement 40; Repairing— 
2; Testing—2; —Varnish 242. 

ANILINE: —Dye 62; —Stain 215. 

ANNEALING : —Copper and its alloys 
2; —Iron 2; —Steel 2. 

APHIS: Removing—2. 

APPLE: —Stains, removing, 219; 
—Vinegar 247. 

AQUARIUM: 2, 98 (fountain) ; —Ce- 
ment 40. 

ARROWS: 4. 

ARTIFICIAL: sce IMITATION. 

AsH: Wood, varieties of, 265-6. 

ASH-SIFTER: 4. 

ASPHALT: —Path 169; —Tennis- 
court 230. 

Axes: Hanging—4. 

AXLETREES: Repairing—4. 


40, 44 


Bac: —Frame 4; —Holder 5. 
BaL.L: Woolien—5. 
BALLOON: Paper—5. 
Batsam: —Cement 41 (glass). 
BamsBoo: Bending—6. 
BanpD: Tyre—239. 

Bar GATE: 103. 

BARKING BEND: 136. 

BARN TRUCK: 239. 
BAROMETER: 6. 


BARREL: —Cellar 39 (cask); — 
Chair 45; —Cement 40 (cask) ; 
Cider—7 ; Ham—117; —Press7; 
Wine—7. 

BARREL: How to Char—7; Clean 
—7,musty—7 ; Dry—7 ; Hoop—7. 

BASKET: Coral—7; Crystal—7 ; 
Hanging-cocoanut—8 ; glass—S8 ; 
ivy—8 ; rustic—8; shell—8; wire 
—8; wooden—9; Wire wall—9. 

BASKET: How to Fill Hanging—8. 

BATTEN: Wood, selecting, 264. 

BEANS: Storing—223. 

BED: Feather—9, cleaning 81. 

BEECH: Wood, varieties of, 266. 

BEE-HIVE: 9. 

BEESWAX: Bleaching—19, 

BEETLE TRAP: 232. 

BEETS: Storing—224 (vegetables 
and fruit). 

BELL: Electric—1 (alarm, burglar), 
12, 15, indicator 15; —Metal 2 
(alloys). 

BELT: —Fastenings 17; —Oil 144 
(leather) ; Sewing machine—17. 

BENCH: Carpenter’s—17. 

BEND: see KNOT. 

BENDING: —Bamboo 5; —Bone 
24; —Copper pipes 53; —Wood 
265 (steaming). 

BENGAL FIRES: 182. 

BEVEL JOINT: 30. 

BICHROMATE CELL: 71. 

BICYCLE: see CYCLE. 

BINDER: Corn—53. 

BINDING: —Knot 136; Book—24. 

BirD: —Egg, blowing 69, cabinet 
17; —Kite 134; Skinning—204; 
—Trap 233 (box), (drop-door), 
(figure four), 234 (gin), (half-hoop), 
235 (line). 


(275) 


276 


Bit: Adjustable bridle—18; Leather 

Biack: —Dye 62, 62 (aniline); — 
Ink 123; —Minstrel-powder 18; 
—Paint 162; —Stain 215, 215 
(aniline); —Varnish 242. 

Biack: How to Dye Feathers— 
63; Gloves—63; Leather—63 ; 
Skin—65; Straw—65; Wicker- 
work—66 ; Wool—66. 

Buiack: How to Stain Horn—216; 
Ivory and bone—216. 

BLACKBOARD; —Paint 162. 

BLACKENING: —Brass 31 (bronze) ; 
—Silver 204 (oxidise). 

BLACKING: Elastic—18; Harness 
—18,118; Leather—18, 19; Shoe 
—19; Stove—19. 

BLANKETS: Cleaning—19. 

BLASTING: —Boulders 19; 
Stumps 224. 

BLEACHING: —Beeswax19;—Bone 
20; Chlorine—21 ; —Cottons 20; 
—Faded dresses 20; —Ferns 20; 
—Flannel 20; —Fluid 21; 
Grasses 20; —Lace, old, 20; — 
Leaves 144 (skeleton) ; —Sponges 
20; —Straw 21; —Woollens 21. 

BLow-PIPE: Egg—69. 

BLiuE: —Dye 62 (aniline) ; —Paint 
162; —Stain 215, 215 (aniline); 
—Varnish 244 (japan, coloured). 

BLuE: How to Colour IJron—127; 
Ivory and bone—216. 

BLuE: How to Dye Cottons—62; 
Silk—64 ; Wool—66. 

BoarD: —Fence 81 ; Wood, select- 
ing, 264. 

Boat: Flat-bottomed—21, 179 
(punt) ; —Knot 137; Rock—190. 

BOILER SCALE: 198. 

Bott: 4 (arrow); Door—57, 103 
(gate fastener). 

BomBAZINE: Cleaning—23. 

BonE: Bending—24; Bleaching— 
20; —Cement 42 (ivory), 44 
(tortoise-shell) ; Cleaning—24,128 
(ivory); Imitation—128 (ivory) ; 
—Ink 124; Stains removing from 
—220 (ivory); —Manure 149; 
Polishing—176 (ivory); Silver- 
ing—128 (ivory); Staining—216 
(ivory). 


INDEX 


Book: —Binding 24; —Edges, 
gilding, 25, marbling 26; —Shelf 
26. 

BOOKBINDER’S: = 
Paste 167. 

BOOMERANG: 26. 

Boot: —Blacking 19 (shoe); Oil 
for—144 (leather) ; Patent leather 
-—145; Snow—145 (leather, water- 
proof) ; Squeaking—26. 

BotTrLes; Cleaning—26; —Cork 
cement 40 ; Mending—26. 

BouLpDERS: Blasting—19; Bursting 
—191 (rock); Burying—191 (rock). 

Bouquet: Flower—94, 

Bow: Arrows for—4; Cross—2?7 ; 
—Drill 61; —Kite 135; Long—28. — 

BowLINE Knot: 137. 

Box: Birds’-egg—17 (cabinet) ; 
Butterfly—35 (cabinet); Bulb— 
28; Ice—123 (chest); Mitre— 
155; Nail—28; Propagating— 
179; —Trap 233; Flower vase— 
a Window—29 ; Wood pile— 

9. 


—Glue 111; 


BRACKET: Rustic—29. 

BRANARDS WASH: 249. 

Brass: Annealing—2; Bronzing 
—31; Burnishing—35; Casting 
—38 ; Cleaning—53 (copper) ; — 
Coloured varnish 242; Composi- 
tion of—2 (alloys); Etching— 
80; Frosting—30; Gilding—108 ; 
—Glue, leather to, 111; Harden- 
ing—30; Japanning—128; Melt- 
ing— 30; —Paste, to paper, 168, 
168 (waterproof); —Pipes, bend- 
ing, 53 (copper); —Polishing 
paste 176; Silvering—30; Sof- 
tening—2 (annealing) ; Soldering 
—213 (copper); Tinning—231 
(copper); Wet-colouring — 30; 
Whitening—30. 

BrRAZING: 30; -Solder 213. 

BREAD: —Putty 180. 

Brick: —Wash 249. 

BRICK-wWORK: —Bevel joint 30; — 
Oven 160 (outdoor); Painting— 
162; —Paving 30; —Pointing 
joint 31. 

BRIDGE: Freshet—31. 

BRIDLE: —Bit 18 (adjustable), 18 
(leather), 


INDEX 


BRIDLING: —Brush 38 (paint). 

BRIQUETTES: Coal—31. 

BRITANNIA-METAL: 2 (alloys). 

BRONZE: —Paint 162; —Powder 32. 

BRONZING: —Brass 31; —Iron 32; 
—Plaster casts 32. 

Broom: Rubber—33. 

Brown: —Cream polish 176 
(leather); —Dye 62 (aniline) ; 
—Paint 162; —Stain 215, 215 
(aniline) ; —Wash 249. 

Brown: How to Colour Brass— 
31 (bronze) ; Iron—126. 

Brown: How to Dye Silk—64; 
Skin—65 ; Wool—66. 

BrusH: Bridling — 33 (paint) ; 
Camel-hair—34 (striping) ; Clean- 
ing—117 (hair), 33 (paint); 
Feather—33; —Fence 82; Hair 
—, cleaning, 117; Improving— 
34 (paint) ; Keeping—34 (paint) ; 
Paint—33-4 ; Rubber—33 ; Strip- 
ing—34 (paint); Varnish—34. 

BUDDING: 34. 

Burr: —Dye 65 (skin); —Paint 
162. 

BuILpDER’s Knot: 137 (clove hitch). 

BUNSEN CELL: 72. 

BurGLAR: —Alarm 1. 

BuRNING: —Stumps 224, 

BURNISHING: 35. 

Burst: —Pneumatic tyre 239, 
241. 

Burst: How to —Rock 191. 

BusHEs: Killing—35. 

Butt: Water—35. 

BuTTERFLY: —Cabinet 35; —Kill- 
ing bottle 134; Relaxing—190 ; 
—Wings, copying, 36. 


CaBBAGES: Storing—223. 

CABINET: Birds’-egg—17; Butter- 
fly—35. 

CALCIMINE : —Wash 249, 

Catico: —Starch 221. 

CAMEL-HAIR : —Brush 34 (striping). 

CANDLE: 183 (pyrotechnics) ; — 
Composition 36. 

CANE-woRK: —Cement 41 (glass, 
chinese); Dyeing—66 (wicker- 
work) ; Washing—36. 

CANOE: —Paint 163 (flexible). 

Canvas: —Roofing 192 (felt). 


va 


CARBON : Electric cell—71 ; —Paper 
36, 165. 

CARDBOARD: Hardening—36, 

CARPENTER’S: —Bench 17. 

CARPET: Cleaning—37 ; Ink stains 
on—220; Laying—37; Rag—37. 

CARRIAGE: Cleaning—37; —Jack 
261 (wheel) ; —Oil 158, 159 (wag- 
gon) ; Painting—162 ; Preserving 
—37 ; —Rattling 37. 

CART: see CARRIAGE. 

CASE-HARDENING : 38. 

CASEINE: —Cement 40. 

Cask: see BARREL. 

CASTINGS: 38. 

Casts: Bronzing—32; Plaster— 
38; Wax—258 (modelling), 258 
(moulding a face). 

CATAPULT: 39. 

CatTcH: Door—58, 57 (bolt); Gate 
—103 (fastener). 

CaTTLE: —Feeding rack 188; — 
Shed 200. 

CEDAR: —Stain, imitation, 216, 

CEILING: Cracked—39, 

CELERY: Storing—223. 

CELL: Bichromate—71; Bunsen— 
72; Daniell—72; Dry—73;. Le- 
clanché—73 ; Microscope slide— 
151. 

CELLAR: —Cask 39; Damp—39; 
Disinfecting—57. 

CELLULOID: —Cement 40; Polish- 
ing—177. 

CEMENT: 39-45; Acid-proof—40, 
44 (stone); Balsam—41 (glass); 
Caseine—40; Chinese—41 (glass); 
Concrete — 51; Diamond — 41 
(glass); Dry—41; Fireproof—41, 
42 (iron), 43 (lamp), 87 (substitute 
for fire-brick) ; Flange joint—42 
(iron) ; Gasfitter’s—41; Jeweller’s 
—42; Mosaic—43-4; Portland— 
44; Putty—44, 180; Red-lead— 
42, (iron, flange joint); Rubber— 
44; Rust joint—42 (iron) ; Sealing 
wax—42 (glass); Shellac—42 
(glass), 44 (rubber) ; Spirit-proof 
—44; Steam-tight—42 (iron, 
flange joint) ; Surgical—44; Tur- 
kish—41 (glass); Water-glass— 
45; Waterproof—45, 40 (acid- 
proof), 40 (aquarium), 40 (cask), 


278 


40 (china), 41 (glass), 43 (lamp), 
43 (leather), 44 (portland), 44 
(rubber), 44 (stone). 

(CEMENT: For, —Amber 40; —Aqua- 
rium 40; —Bone 42 (ivory), 
44 (tortoise- shell), 128 (imitation 


ivory); —Bottle 40;—Cask 40; 
—Celluloid 40; —China 40; — 
Crockery 41; —Glass 41, 44 


(rubber), 45 (water-glass); — 
Horn, 42, 121 (imitation) ; —Iron 
42; —Ivory 42, 44 (tortoise-shell), 
128 (imitation) ; —Knife-handles 
43; —Lamp 43; —Leather 43, 
145 (renovating); —Marble 43, 
43 (mosaic); 44 (stone); —Metal 
43, 41 (glass), 42 (iron), 43 (lamp), 
44 (rubber); —Rubber 44; 
Shell 44; —Stone 44, 42 (iron), 43 
(marble), 43 (mosaic) ; —Tarpau- 
lin 228; —Tennis-court 230 (con- 
crete) ; —Terra-cotta 230 (repair- 
ing); —Tortoise-shell 44; —Tree 
45; —Wood 42 (iron), 44 (stone), 
45 (tree), 262 (grainless), 

CHAIN: Cycle—55; Polishing — 
175. 

CuHaiR: Barrel—45; Garden-—45; 
Rustic—46 (garden), 

CHALK LINE: 146. 

CHAMOIS LEATHER: Washing—46, 

CHARCOAL: 46; —Filter 87; 
Paint 162 (buried wood). 

CHARRING: —Barrels 7. 

CHEMICAL: —Cement 41 (fireproof). 

CHENILLE: —Rug 194. 

CHESS-BOARD: 46, 

CHEST: see Box. 

CHESTNUT: —Paint 163. 

CHICKEN: see FOWL. 

CHIMNEY: Looking up—47; Size of 
—46; Smoking—47. 

Cuina: —Cement 40-1, 41 (crock- 
ery), 41 (glass), 45 (water-glass) ; 
Cleaning—109 (glass) ; Cutting— 
109 (glass) ; Drilling—109 (glass) ; 
Etching—79 (glass) ; Gilding— 
108; Imitation—47 ; Packing— 
109 (glass) ;—-Paste 168 (paper to 
metal), 168 (waterproof) ; —Var- 
nish 243 (glass). 

CHINESE: —Cement 41 (glass) ; — 
Varnish 243, 


INDEX 


Flat— 
Ice— 
Wood— 


CHISEL: Engineer’s—47 ; 
47; Grinding—115 (tools) ; 
47 : Tempering—228 ; 
47. 


CHLORINE: —Bleaching 21. 

CHOCOLATE: —Bronze for brass 
32. 

CHOKING MACHINE: 181 (pyrotech- 
nics). 

CHROMOGRAPH : —Varnish 243. 

CIDER: —Barrel 7; Bottling—47 ; 
Colouring—48 ; Keeping—48 ; 
Vinegar 247 (rotten apple). 

CINDER: —Tennis-court 230, 

CIRCULAR: —Saw, setting and 
filing, 196. 

CISTERN: —Filter, 48; 
48 ; —Well 48. 

CLamPp: Glue—49; Harness—49. 

Cray: Modelling —49. 

CLEANING: —Barrels 7 ; —Blankets 
19; —Bombazine 23; —Bone 
24; —Bottles 26; —Brass 53 
(copper); —Brushes 33 (paint), 
117 (hair); —Cane-work 36; — 
Carpets 37; —Carriages 37; — 
Chamois leather 46; —Clocks 
49; —Cloth 50; —Clothes, 50; 
—Copper 53; —Cotton 54; 
Coverings of furniture 54; 
Crape 55; —Cycles 55; —De- 
laines 56; Dry—61 ; —Embroid- 
ery 141 (lace) ; —Engravings 79; 
—Feathers 81; —Flannel 94; — 


—Screen 


Fur 102; —Furniture 102; — 
Glass 109 ; —Gloves 110; —Gold 
112, lace 141; —Gun 116; — 


Gutta-percha 116; —Hair brushes 
117; —Ivory 128; —dJars 129; 
—Lace 141; —Linen 147; 
Manuscript 149; —Marble sii 
—Mats 150; —Matting 150; 

Merino 151; —Milk pails, 160; 
—Muslin 157; —Oil 158 (dirty), 
159 (petroleum) ; —Oil-cloth 159: 
—Onion kettles 160; —Pails 164 
(milk) ; —Painted surfaces 164; 
—Plaster casts 149 (marble); — 
Porcelain 178; —Razor strop 


190°; —Ribbons 190; —Scorched 
goods 198; —Silk 203, ribbons 
190 ; —Silver 203, lace 141; - 


Smoked walls 210; —Sponges 


INDEX 


214 ; —Stone 222 ; —Strop, razor, 
190; —Tatting 228; —Tin-ware 
232; —Varnished surfaces 246; 
—Wall-paper 248; —Woollens 
267. 


Ciert: —Grafting 113, 

Ciock: Alarm—1; Cleaning—49; 
Levelling—49-50; Repairing— 
49. 


CLoTtH : —Cement 42 (iron) ; Clean- 
ing—50; Ink stains remove 
from—220; Nap on—50; Paint- 
ing—162 (black); —Paste 168; 
—Rug 194; Sizing—s0. 

CLOTHES : —Box polish 175 ; Clean- 
ing—50; —Horse 50; —Moths 
155, 

Ciove Hitcu Knor: 137. 

CoaL: —Briquette 31. 

CoasTING : —Sled 208. 

COCHINEAL : —Dye 66 (wool). 

Cocoa-NuT: —Basket, hanging, 8. 

Coins: Impression of—51. 

CoLp FRAME: 100. 

CoLLaR: Horse—S1, 

COLOUR: see PAINT. 

Couza OIL: 158. 

CONCRETE: Cement—51; 
51; —Tennis-court 230, 

CooLER: —Chest 123 (ice); Pro- 
vision—51. 

Coop: Early chicken—52; Hen— 
52. 


Tar— 


CopaL VARNISH: 243. 

CopPeR: Annealing—2; Bronzing 
—31 (brass); Burnishing — 35 ; 
Casting—38 ; —Cement 43, 41 
(glass), 43 (lamp); Cleaning— 
53; Etching—80; Frosting—30 
(brass); Gilding—108; Glue, 
leather to—111 ; Hardening—30 
(brass); Japanning—128 ; 
Paste polish 176; -—Paste to 
paper 168, 168 (waterproof) ; — 
Pipes, bending, 53; —Plate 53, 
76; —Plating 75; Silvering—30 
(brass); Softening—2 (anneal- 
ing) ; Soldering—213; Tinning— 
231; Wet colouring—30 (brass) ; 
-Whitening—30 (brass). 

Copperas : —Water wash 249. 

CopyinGc: —Gelatine pad 120; — 
Ink 123 (black), 124 (hectograph), 


279 


125 (red), 125 (violet); —Paper 
36 (carbon). 

CoraL: Artificial—53 ; 
a: 

CorK: Air-tight — 246 (varnish, 
sealing-wax) ; Entomological— 
36 (butterfly cabinet) ; Removing 
a—53 ; —Screw 53; Softening— 
53; Water-tight—53. 

Corn: —Binder 53; —Jack 54. 

CORNUCOPIA: 54, 

Cotton: Bleaching—20; Cleaning 
—54; Dyeing—62, 62 (aniline), 
65 (stone-colour), 67 (yellow), 

CouUNTERSINK: 54, 

CRACKERS: 183. 

CRANE: Portable farm—54-5., 

CraPE: Cleaning—55. 

CRAYON : —Drawings, fixing, 61. 

CREAM: —Polish 175 (furniture), 
176 (leather). 

CRIMSON : —Dye 62 (aniline), 64-5 
(silk), 66 (wool). 


—Basket 


CROCKERY: —Cement 41, 40-1 
(china), 41 (glass), 45 (water- 
glass); Cutting—109 (glass) ; 


Drilling—109 (glass) ; Packing— 
109 (glass); —Paste 168 (paper 
to metal), 168 (waterproof) ; — 
Varnish 243 (glass). 


Cross: —Cut saw, setting and - 
filing, 196; —Slat sheep rack 
188. 


Cross-Bow: 27; —Arrows 4. 

CrotcH DrRaG: 59, 

CRYSTAL: —Basket 7; —Flowers 
94; —Varnish 243. 

CuRING: —Hams 117. 

CurvVES: Drawing—S55., 

CycLe : —Chains 55 ; Cleaning—55, 
Enamelling—79; —Lamp 143; 
—Oil 158; —-Saddles, softening, 
55; —Shed 200 ; —Spokes,broken, 
55; —Tyres 239-42; —Wheels, 
truing, 56. 


Damp: —Cellar 39; —Walls 247. 

DANIELL CELL: 72. 

Dart: 56. 

DEAL: Wood, selecting, 264. 

DELAINES: Washing—s6, 

DEVELOPING: —Photographic plates 
169, 


280 


D1amonD: —Cement 41 (glass). 

DIPPING COMPOSITION : 184. 

DISINFECTING: —Cellars 57; 
Drains 57; —Traps 233. 

DISTEMPERING: 57, 

DitcH: Board—59 ; 
Open—57 ; Pole—60. 

Doc KENNEL: 133. 

Door: —Bolt 57; —Catch 58; 
Cracks in—58; Creaking—S8 ; 
Sagging—58 ; Slamming—58. 

DOUBLETREE: 58. 

Dove-coT: 172 (pigeon martin box). 

DoveETAIL: —Jdoint 129. 

DraB: —Paint 163. 

Drac: Crotch—59. 

DRAINAGE: Brush ditch—59; Ditch 
—57, 59, pole 60, tile 60. 

Drains: Disinfecting—57. 

DRAUGHT-BOARD: 46, 

DRAWING: —Curves 55; Fixing 
crayon—61; Transferring pencil 
—61; —Varnish 243 (crystal) ; 
Working—61. 

DrEss: Bleaching faded—20. 

DRIER: Paint—16l. 

DRILL: Bow—61; Oil for—158. 
DRILLING: —Eggs 69; —Glass 
109; —Iron 61; —Marble 149. 

DRINKING TROUGH: see TROUGH. 

DRIVER: Screw—198. 

DROP-DOOR TRAP: 233. 

Dry: —Cell 73; --Cement 41; — 
Cleaning 61; —Mounting micro- 
scope slides 152, 

Dryinc: —Flowers 95. 

DUMB-BELLS: 62. 

DyE: 62-7; Aniline—62; Black— 
62, 62 (aniline), 63 (feathers), 63 
(gloves), 63 (leather), 65 (skin), 
65 (straw), 66 (wicker-work), 66 
(wool); Blue—62 (aniline), 62 
(cotton), 64 (silk), 66 (wool); 
Brown—62 (aniline), 64 (silk), 65 
(skin), 66 (wool) ; Buff—65 (skin) ; 
Cochineal—66 (wool); Crimson 
—62 (aniline), 64 (silk), 66 (wool) ; 
Flesh-colour—64 (silk); Green— 
63, 62 (aniline), 63 (moss), 65 
(straw); Indigo—62 (cotton), 64 
(silk), 67 (wool) ; Madder red—67 
(wool); Orange—65 (skin), 67 
(wool); Purple—62 (aniline), 62 


Brush—S9 ; 


INDEX 


(cotton), 65 (silk); Red—62 (ani- 
line), 62 (cotton), 65 (silk), 66-7 
(wool); Rose—64, 62 (aniline); 
Scarlet—65 (silk), 67 (wool); 
Stone-colour—65 ; Yellow—67, 62 
(aniline), 62 (cotton). 

Dye: How to Brighten—62; — 
Cotton 62, 63 (green), 64 (rose), 
65 (stone-colour), 67 (yellow) ; — 
Feathers 63 ; —Fur 63; —Gloves 
63 ; —Grasses 63; —Leather 63; 
—Leaves 63 (grasses); —Moss 
63; Set—64; —Silk 64, 62 (ani- 
line) ,62 (cotton), 65 (stone-colour), 
63 (green), 64 (rose), 67 (yellow) ; 
—Skin 65, 66 (wool, black); — 
Straw 65 ; —Thread, variegated, 
66; —Wicker-work 66; —Wool 
66, 65 (stone-colour), 63 (green), 
64 (rose), 67 (yellow). 


EASEL: Plain—67; Rustic—68. 

Exsony: Artificial—69; Wood, 
varieties of, 266. 

Ecc: —Blowing 69; —Cabinet 17; 
Chicken in—70; Nest—100; Pre- 
serving—70; —Rack 70; Testing 
—70 (chicken in), 

ELEctTrRic: —Bell 12-15, 1 (burglar 
alarm), indicator 15 ; —Cells 71-4; 
—Leyden jar 146; —Varnish 246 
(sealing-wax). 

ELECTRO-PLATE: 74-8; Copper— 
76; Nickel—77; Silver—77; Tin 
—78. 

ELECTRO-PLATING: —Copper 75; 
—Iron 75; —Lead 76; —Steel 
76; —Tin 76; —Zinc 76. 

Ex_m: Wood, varieties of, 266. 

EMBROIDERY: —Patterns, copying, 
78. 

EMERY: —Cloth 195 (sand-paper) ; 
—Glue 111; —Wheels, truing, 78. 

ENAMEL: —Leather polish 176; — 
Paint 163. 

ENAMELLING: 79. 

ENDING KNoT: 138. 

ENGINEER’S: —Chisel 47. 

ENGLISH Knor: 138. 

ENGRAVINGS: Cleaning—79; Re- 
moving ink stains from—220. 

ENTOMOLOGICAL: see INSECT, 

ERASIVE: —Soap 210. 


INDEX 


ETCHING: —Brass 80; —Copper 
80; -——Glass 79; —Ground 79 
(glass), 80 (metal); —Ink 79 
(glass), 80 (metal) ; —Iron 80; — 
Metals 79; —Resist 79 (glass), 
80 (metal) ; —Shells 201 ; —Steel 
80; -—Zinc 80. 

EVERLASTINGS: Dyeing—63 
(grasses). 


Face: Wax—258. 

FADING: Prints, to prevent—178. 

FASTENINGS: Belt—17; Door—57 
(bolt); Gate—103. 

FEATHER: —Bed 9, cleaning, 81; 
—Brush 33, Cleaning—81; Dye- 
ing—63; —Flowers 95. 

FELLING: —Wood 262. | 

FELT: —Roofing 192. 

FENCE: Board—81; Brush—82; 
Field—82; Hillside—82; Hurdle 
—82; Lath—100 (fowl-yard) ; 
Marshy-land—83; Picket—83 ; 
Pole—83; Portable—83; —Posts 
84; —Rail 84; Repairing—84 ;— 
Stakes 85; Tree—237 (protect- 
ing); Wire—85, 100 (fowl-yard). 

FERN: Bleaching—20, 

FERNERY: 86. ~ 

FIELD: —Fence 82; —Gate 103; 
—Roller, substitute for, 192. 

FIGURE-FOUR TRAP: 233. 

FILE: Cleaning—86; Keeping—86 ; 
—Papers 86; Resharpening—86,. 

FILLER: see PUTTY. 

FILTER: Charcoal—87; Cistern— 
48 ; Oil and jelly—-87, 158 (dirty) ; 
Paper—87; Water—87; Wine—87. 

Fire: —Brick 87; —Lighter 87. 

FIREPROOF: —Cement 41, 42 (iron), 
43 (lamp); —Glue 111; —Paper 
165; —Wash 249, 250 (oil). 

FIREWORKS: se¢é PYROTECHNICS. 

Fiso : —Casts 38; —Glue 111 (isin- 
glass); Keeping—3 (aquarium) ; 
—Pond 87; Skinning—206; — 
Trap 235 (minnow). 

FISHERMAN’S: —Bend 136 (Bark- 
ing bend); —Knot 138 (English). 

FisHING: —Floats 53 (cork, water- 
tight) ; —-Gimp, staining, 108; — 
Leads 88; —Lines, dressing, 88 ; 
—Rods 89-94, 


281 


FIxInG: —Photographic paper 170, 
plates 170. 

FLANGE-JOINT: —Cement 42 (iron), 
194 (rubber-joint). 

FLANNEL: Bleaching—20; Clean- 
ing—94, 

FLax SEED: —Wash 249. 

FLEECE Horse: 94. 

FLEXIBLE: —Glue 111; 
163. 

FLoop GATE: 104. 

FLoors: Ink stains, removing from 
—220; Painting — 163; — Stain 
216. 

FLOWER: —Bouquet 94; Crystal- 
lised—94; Drying—95; Feather 
—95; Packing—95; —Pots 173; 
Preserving—95 ; Pressing — 95; 
—Stakes 94; Wax—252-8. 

FLuTes: Cracks in—96; Oiling— 
96. 

FLux: Solder—213. 

FLy: —Ointment 112 (gnat); — 
Tying 96-8, wax 258 (transparent). 

FOUNTAIN : 98. 

FowL: —Coop 52 ; —House 99; — 
Nests 100; —Run 100; — Yard 
100. 

FRAME: Bag—4; Cold—110; Pic- 
ture—100. 

FREEZING: —Mixture 102. 

FRENCH POLISH: 175, 176 (leather). 

FRESHET: —Bridge 31. 

FROSTING: —Glass 109; —Gold 204 
(silver) ; —Silver 204; —Tin-plate 
231. 

FROZEN : —Pipes 173. 

Fruit: —Picker 102; Protecting— 
102; —Shed 201; —Stains, re- 
moving, 219; Storing—222; Wax 
— 253. 

Fucusia: Wax flower—253. 

Fur: Cleaning—102; Dyeing—63; 
Preserving—102; Testing—102. 

FURNITURE: Cleaning—102, cover- 
ings, 54; Ink stains on—, remov- 
ing, 220; —Polish 175-6. 


—Paint 


GALVANISED IRON: 102-3. 

GARDEN: —Chair 45; —Gate 105; 
—Hoe 121 ; —Line 147 ; —Marker 
149; —Rake 189; —Water-butt 
35, 


282 


Gas: Escaping—103. 

GASFITTER’S : —Cement 41. 

GATE: Bar—103; —Fastener 103; 
Field—103; Flood—104; Garden 
—105; Hanging a—105; Hinge- 
less—105; Non-sagging—105; — 
Posts 107; Roadway—107; Rus- 
tic—107. 

GELATINE: —Copying pad 120; — 
Soap 210. 

GERMAN SILVER: Soldering—214. 

GILDING: 107; —Book edges 25 ; — 
Glass 108; —Metals 108; Reno- 
vating—108. 

Gimp: —Stain 108. 

Gin TRAP: 234, 

GIRDLED TREES: 237. 

Grass: —Basket, hanging, 8; — 
Cement 41, 44 (rubber), 45 (water- 
glass); Cleaning—-109; Cutting— 
109; Drilling—109; Etching— 
79; Frosting—109; Gilding—_ 
108; Ground— , imitation, 109, 
79 (etching), 226 (surface-plate) ; 
Magic—154 (mirror) ; Packing— 
109; Paste, paper to—168, 168 
(waterproof); —Paper 195; — 
Powder 109; Protecting—154 
(mirror); Repairing—154 (mir- 
ror); Scratched—109; —Shelves, 
hanging, 202; Silvering — 110; 
Stained—110; -—Stoppers, re- 
moving, 222; -—Surface-plate 
226; Toughening—110; —Trans- 
parencies 232 ; —Varnish 243. 

GuLoves: Cleaning—110; Dyeing— 
63. 

GLUE: 111-2; Acid—111 (liquid) ; 
Bookbinder’s—111 ; Cement—42 
(glass, shellac); — Clamp 49; 
Emery — 111; Fireproof — 111; 
Fish—111 (isinglass); Flexible— 
111; Isinglass—1l11; Jeweller’s 
—42 (cement) ; Leather to metal 
—111; Lime—111; Liquid—111 
Marine—112; Metal to leather— 
111; —Paste 168; —Pot 112; 
Preserving—112; Stamp — 112; 
Sweet — 112 (stamp); — Wash 
249; Whisky — 112; White — 
112. 

GLYCERINE: —Soap 210-1. 

Gnat: —Ointment 112. 


INDEX 


GoLp : Cleaning—112; Frosting— 
204 (silver); —Ink 124; —Lace, 
washing, 141; —Paint 163; — 
Powder 113; Testing—113. 

Gonc: House — 113; Outdoor— 
113. 

GoosE : —Nest 158. 

GRAFTING: —Cherry 114; Cleft— 
113; Saddle—114; Splice—114; 
—Vine 114; —Wax 114. 

GRAINLESS : —Wood 262-3. 

GRANNIE: 139 (reef knot). 

GraPEs: Packing—115; Storing— 
223 (vegetables and fruit). 

GrassEs: Bleaching—20; Dyeing 
—63, 63-4 (moss). 

GRAVEL: —Path 169; —Tennis 
court 230. 

Gray: —Paint 163. 

GREASE: see OIL. 

GREEN: —Bronze for brass 82; 
—Dye 63, 62 (aniline), 63-4 
(moss), 65 (straw) ; —Ink 124; 
—Paint 163; —Stain 216, 215 
(aniline), 216 (horn), 216 (ivory 
and bone), 218 (paper or parch- 
ment) ; —Varnish 243, 244 (japan, 
coloured). 

GREENERY: Bottle—115; Cone— 
115 ; Goblet—115 ; Sponge—115; 
Wheathead—115. 

GREENHEART:; Wood, varieties of, 
266. 

GRINDING: —Paint 161; —Razor 
189 (sharpening) ; —Tools 115. 

GRINDSTONE: 116; Truing—116. 

GROOVE: Tongue and—133. 

GROOVING: 116. 

GROUND: Etching—79 (glass), 80 
(metal); —Glass 109, 79 (etch- 
ing), 226 (surface-plate). 

GuM: see MUCILAGE. 

Gun: Cleaning—116; —Ramrod 
116. 

GuTTA-PERCHA: Cleaning—116, 

Gypsum: 117. 


HAIR-BRUSH : Cleaning—117. 

HALEF-HITCH JAM Knot: 138. 

HALF-HOOP TRAP: 234. 

HALF-MILE: — Running track, 
232: 

HALVED JOINT: 130. 


INDEX 


—Barrel 117; Curing — 
117; Smoking—117; Storing— 
118. 

HAMMER: 118. 

Hanp: Ink stains removing from 
—220; —Saw 197 (setting and 
filing). 

HANDLE: —Cement, knife, 43. 

HANGING: —Book-shelves 202; — 
Gates 105. 

Harp : —Soap 211; —Solder 213; 
—Wash 249-50 ; —Water 251. 
HARDENING: —Cardboard 36-7; 
—Copper 30 (brass) ; —Iron and 
steel 38 (case-hardening), 228 

(tempering) ; —Wood 263. 

HarRNEss: —Blacking 18, 118, 18 
(leather); —Clamp 49; —Knife 
118 ; Oil for—144 (leather); Re- 
viving—118; Riveting—145 (lea- 
ther) ; Washing—118. 

Harp: Aolian—l. 

Harrow: Slab—118; Thirty-tooth 
—118. 

Hat: Drying a wet silk—119. 

Hay: —Rack 119. 

HEALTH LiFtT: 119-20. 

HECTOGRAPH : 120; —Ink 124. 

HEDGE. Planting—121. 

HEN : see FOWL 


Hickory: Wood, varieties of, 
266. 
HivE: Bee—9. 


Hoe: Garden—121. 

HOLDER. Bag—5. 

HoL.y: Wood, varieties of, 266. 

HonEy: —Soap 211. 

Hoopinc: —Barrels 7. 

HorN: Bending—24 (bone); — 
Cement 42, 42 (ivory), 44 (tor- 
toise-shell), 121 (imitation); Imi- 
tation—121; Polishing — 176 ; 
Staining—216. 

Horse: —Collar 51; Fleece—94. 

HorSE-HOOF: —Cement 42 (horn). 

HorT-BED: 121. 

House: Fowl—99; Pigeon—172; 
Summer—224, 

HuRDLE: —Fence 82. 

Hutcu: Rabbit—187. 

HyacinTHS: Moss for—122; Sponge 
for—123; Training—123. 

HyDROKINONE DEVELOPER: 169. 


283 


IcE: —Chest 123; —Chisel 47; 
Making—102 (freezing mixture) ; 
—-Pitcher 123; Storing—123. 

IMITATION: —Bone 128 (ivory) ; 
—Cedar 216 (stain); —China 
47; —Coral 53; —Ebony 69; — 
Horn 121; —Inlaid wood 126; 
—Ivory 128; —Mahogany 217 
(stain) ; —Marble 149; —Oak 217 
(stain) ; —Rosewood 218 (stain) ; 
—Walnut 218 (stain) ; —Wood 
262-3 (grainless). 

INDELIBLE INK: Black—123; Blue 
—124; Red—125; Removing— 
124; Violet—125. 

INDICATOR: Electric bell—15. 

INDIGO: —Dye 62 (cotton), 64 (silk), 
67 (wool) ; —Paint 163 ; —Varnish 
244 (japan, coloured). 

INK: Black —123; Blue — 124; 
Bone—124; Etching—79 (glass), 
80 (metal); Gold—124; Green— 
124; Hectograph—124 ; Indelible 
—removing, 124; Invisible—125; 
—Look old 125; Marking—, re- 
moving, 124; —Moulding, pre- 
venting, 125; Red—125; Rubber 
stamp—125 ; —Stains, removing, 
220; Type-writer—125; Violet— 
125; Waterproof—125 ; Zinc— 
125. 

INLAID Woop: Imitation—126, 

InsEcT: —Cabinet 35 (butterfly) ; 
—Killing bottle 134; Preserving 
large—155 (moth); Relaxing— 
190; Sugaring for—224 (moth); 
—Trap 235, 232 (beetle), 235 
(moth); Wings, copying, 36 
(butterfly). 

IRON: Annealing—2; Blacking— 
126; Bluing—127 ; Brazing—30; 
Bronzing—32; Browning—126 ; 
Case-hardening—38; —Castings 
38; —Cement 42; Drill for—61 ; 
Etching—80; Galvanised—102 ; 
Gilding —108 (metals); Glue 
leather to—111; Japanning—128; 
Painting—163; —Paste polish 
176 (metal); —Paste to paper 
168, 168 (waterproof); Plating— 
75; Soldering—214; Testing - 
128; Welding—259. 

ISINGLASS GLUE: 111. 


284 INDEX 

Ivory: —Cement 42, 44 (tortoise- | LADDER: Builder’s—142; Fruit— 
shell) ; Cleaning—128; Imitation 142; Step—142. 
—128; Ink stains on—220; | Lake Paint: Testing—163. 


Polishing—176; Silvering—128 ; 
Staining—216; Testing—128. 


JACK: Corn—54; Wheel—261. 

JAPAN: —Varnish 243. 

» How to: —Metals 128; — 
Wood 129. 

JAPANESE: —Matches 184 (pyro- 
technics). 

JARS: Cleaning—129. 

JELLY FILTER: 87, 

JEWELLER’S CEMENT: 42. 

JOINT: Dovetail—129; Halved— 
130; Match—130, 116 (grooving 
and rebating); Mitre—131, 100 
(frame, picture); Red lead—42 
(iron flange) ; Rubber—194; Rule 
—131; Tenon—132; Tongue and 
groove—133. 


KENNEL: Dog—133. 

KILLING BoTTLe: 134, 

KINKED: —Saw 196, 197 (tightening 
tenon); —Wire 262 (straighten- 
ing). 

KITE: Bird—134 ; Bow—135 ; Three 
stick—135. 

KNIFE: —Handle cement 43; Har- 
ness—118. 

Knot: Barking bend—136; Binding 
—136 ; Boat—137 ; Bowline—137 ; 
Builder’s—137 (clove hitch); Clove 
hitch—137; Double tie—138,hitch 
137 (clove hitch); Ending—138; 
English—138; Fisherman’s—138 
(English), bend—136 (Barking 
bend) ; Grannie—139 (reef); Half 
hitch jam—138; Lark’s head— 
138; Manrope—139: Marline 
spike—137 (boat); Pier bend— 
1389; Reef—139; Sailor’s — 139 
(reef); Sennet plait—139; Splic- 
ing—140; Timber hitch—140; 
True—139 (reef); Turtle—140; 
Weaver’s—141. 

KnortTine: 141, 


LacE: Bleaching—20; Washing— 
141. 
LACTOMETER: 141. 


Lamp: —Cement 43; Cycle—143, 
oil 158; —Oil 158 (cycle), 159 
(petroleum) ; Safeguard for—143 ; 
—Shade 143 ; —Wicks 143. 

LAMPBLACK PAINT: 163. 

LANTERN: —Screen, magic, 147; 
—Slides, magic, 147-8. 

LarcH : Wood, varieties of, 266. 

Lark’s HEap Knor: 138. 

LAYERING: —Plants 143. 

LEAD: Casting—38, 71 (electric 
cells); —Cement 43 (metal), 41 
(glass), 42 (jeweller’s) ; Fishing 
—88; Gilding—108 (metals) ; 
Glue, leather to—111 ; Japanning 
—128; Plating —76; -—Wash 
250 ; White—164, putty 180. 

LEATHER: —Belts 17; —Bits 18; 
—Blacking 18, 19, 19 (shoe), 118 
(harness) ; —Cement 43, 145 
(renovating) ; —Clamps 49 (har- 
ness); Dyeing—63; Fastenings 
—17; —Glue, to metal, 111; 
Hardening — 144; —Knife 118 
(harness) ; Oil for—144; —Pack- 
ing for pumps 179; —Paste, to 
paper, 168; Patent—145; — 
Polish 176; Raw-hide — 145; 
Renovating—145, 145 (patent) ; 
Reviving—118 (harness) ; Rivet- 
ing—145; Softening—s5 (cycle 
saddle) ; —Squeaking 26 (boot) ; 
—Varnish 245; Washing—118 
(harness), chamois, 46; Water- 
proof—145. 

LEAVES: Bleaching—1l44 (skele- 
ton); Dyeing—63 (grasses) ; Im- 
pression of—143 ; Skeleton—143; 
Varnishing—144; Waxing—144. 

LECLANCHE CELL: 73. 

LENSE: —Cement 41 (glass, bal- 
sam). 

LEVEL: Spirit—145. 

LEYDEN : —Jdar 146. 

LIGHTER: Fire—87. . 

LIGHTNING: —Conductor 146; — 
Paper 184 (pyrotechnics). 

LicNumM VIT&: Wood, varieties of 
266. 

Litac ; —Paint 163. 


INDEX 


LILIES: Wax flower—254-7. 

LimE: —Glue 111; —Stains, re- 
moving, 220; Testing quick— 
146. 

LiInE: Chalk—146; Fishing—88 ; 
Garden—147; —Trap 235. 

LINEN: Ink stains, removing from 
—220; Washing—147. 

LINSEED OIL: 158. 

Liguip GLUE: 111. 

Locs: Blasting—224 (stumps) ; 
Burning—224 (stumps) ; —Roller 
191; Seasoning — 263 (wood) ; 
Selecting—264 (wood) ; Splitting 
—264 (wood) ; —Trough 238. 

Lonc Bow: 28. 

LOOKING-GLASS: se¢é MIRROR. 

LUBRICANT: see OIL. 


MacHINE: —Oil 158-9. 

MADDER RED: —Dye 67 (wool). 

Macic: —Mirror 154. 

MAGIC-LANTERN : —Screen 147; — 
Slides 147. 

MAHOGANY: —Paint 163-4; 
Stain, imitation, 217; Staining 
—216; Wood, varieties of, 266. 

MALLET: Manure—148-9. 

MamMALs: Skinning—207. 

MANROPE Knot: 139. 

MANURE: Bone—149; Garden— 
149; —Mallet 148-9; Potting— 
149; —Rake 189; Straw—149. 

Manuscripts: Washing—149. 

Map: Mounting—155-6 ; —Varnish 
243 (crystal). 

MARBLE: Artificial—149; —Book 
edges 26; —Cement 43, 41 (dry), 
42 (iron), 43-4 (mosaic), 44 (stone) ; 
Cleaning —149; Drilling — 149; 
Ink Stains, removing from—220 ; 
Polishing—177 (stone); Repairing 
—149. 

Marine: —Glue 112. 

MARKER: Garden—149-50. 

MARKING INK: see INDELIBLE INK. 

MARLIN SPIKE KNoT: 137 (boat). 

MarTIN Box: Pigeon—172. 

Mat: Washing—150. 

MatcH: —Joint 130, 116 (grooving 
and rebating) ; Waterproof—150. 

Mattinc: Washing—150. 

MEaAsuRE: Box—150; Reel—150. 


285 
MEDLEY: Window—151. 
MERINO: Washing—151. 
MeTaL: Annealing—2; Bell—2 
(alloys); Blacking—126 (iron) ; 


Bluing—127 (iron); Brazing— 
30; Britannia—2 (alloys) ; Bronz- 
ing—31 (brass), 32 (iron) ; Brown- 
ing—126 (iron); Burnishing—35 ; 
Case-hardening—38; Casting— 
38; —Cement 43, 41 (glass), 42 
(iron), 42 (jeweller’s), 43 (lamp) ; 
Cleaning—53 (copper), 203 (sil- 
ver), 141 (silver lace) ; Drill for— 
61; Etching—79; Frosting—30 
(brass), 204 (silver); Galvanised 
—102-3 (iron); Gilding — 108; 
Glue, leather to—111 ; Hardening 
—30 (brass), 228 (tempering) ; 
Japanning —128; Melting —30 
(brass); Oxidised—204 (silver) ; 
Painting—163 (iron), 164 (zinc) ; 
—Paste, polishing, 176, to paper 
168, 168 (waterproof); —Pipes, 
bending, 53 (copper); Plating— 
74-8 ; Silvering—30 (brass) ; Sof- 
tening—2 (annealing); Soldering 
—213-4; Tempering—228; Test- 
ing—128 (iron); Tinning—231 
(copper); —Wash 251 (zinc); 
Welding—259; Wet-colouring— 
30 (brass), 204 (silver); White— 
2 (alloys); Whitening—30 (brass). 

MICROSCOPE SLIDE: Cell—151; 
Dry-mounted—152; Sections for 
—152; Staining objects for—152 ; 
Vegetable substances for—152; 
Varnishing—154; Wet-mounted 
—153. 

MILDEw STAINS: Removing—220-1. 

MiLK: —Pail, cleaning, 160, rack 
160; Testing—141 (lactometer) ; 
—Wash 250. 

MINNOW: —Trap 235. 

MINSTREL PowDER: 18. 

Mirrors: Cleaning—109 (glass) ; 
Magic—154; Making—110 (glass, 
silvering); Protecting—154; Re- 
pairing—154; Scratched—109-10 
(glass). 

MITRE: —Block 154; —Box 155; 
—Halved angle joint 130; —Joint 
131, 100 (frame, picture) ; —Shoot 
block 154. 


286 


INDEX 


MODELLING: —Clay 49; —Wax 258, | Oak: Miniature —158; —Stain 217, 


258 (moulding a face). 

MoLeE: Poisoning—155; 
tanning, 227; —Trap 235. 

Mosaic: —Cement 43-4. 

Moss: —Cone 155; Dyeing—63-4 ; 
—Hyacinth, for, 122-3; Preserv- 
ing—155; —Tumbler 155. 

Moto: —Cabinet 35 (butterfly) ; 
Clothes—155; —Killing bottle 
134; Preserving large—155; Re- 
laxing—190 (insects); Sugaring 
for—224; —Trap 235; —Wings, 
copying 36 (butterfly). 

MOTHER-OF-PEARL: —Varnish 245, 

MountTING: —Maps 155-6 ; —Micro- 
scope slides 151. 

MousE: —Holes, plugging, 156; 
Poisoning—151; —Trap 235-6, 
237 (rat). 

MuciLaceE: Commercial—156; Gum 
—156; —Moulding, to prevent, 
156; Pocket—156; Stamp—156. 

MuSHROOM CULTURE: 156-7. 

MusLin: Washing—157. 

Musty: —Barrels 7; —Glue 112 
(preserving); —Mucilage 156 
(moulding). 


—Skin, 


NaiL: —Box 28; Drawing rusty— 
157; Driving—157; — Holes, 
plugging, 199 (screw); Picture— 
199 (screw); —Rusting, to pre- 
vent, 157. 

NAILING: Secret—157. 

Nap: Cloth—50; Velvet—247. 

NeEaTsFooT OIL: Refining—159. 

Nest: Fowl—100; Goose—158; 
Pigeon—173 (martin box) 

NICKEL: —Cement 41 (giass), 42 
(iron), 43 (lamp), 43 (metal); Etch- 
ing —79-80 (metal); Gilding — 
108 (metal); Glue, leather to— 
111 (metal); Japanning — 128 
(metal); Paste, paper to—168 
(metal), 168 (waterproof) ; Solder- 
ing—213-4; —Plate 77. 

NIGHT-LIGHT: —Composition 36 
(candle). 

Noise: Lessening workshop — 
158. 

Noose: —Trap 236 (rabbit). 

Nurs: Loosening—158. 


imitation 217; — Varnish 245; 
Wood, varieties of, 266, 

OFFICE: —Paste 168. 

OiL: Cleaning—158 (dirty), 159 
(petroleum) ; —Cloth, washing, 

— 159; Colza—158; Dirty—158; — 
Filter 87, 158 (dirty); Linseed— 
158; Machine—158; Neatsfoot— 
159; Olive—159; —Paint 161; — 
Paintings, renovating, 165; Paraf- 
fin—159 (petroleum); Petroleum 
—159; —Polish 175 (furniture) ; 
—Stain 217; —Stains, removing, 
219 (grease) ; —Stone 159; Test- 
ing non-mineral—159; Turpen- 
tine—159; —Wash 250. 

OiL: For, —Carriages 158; —Carts 
159 (waggon); —Cycles 158; — 
Drilling 158; —Lamps 158 (cycle), 
159 (petroleum); —Leather 144; 
—Machines 158-9; —Saws 159; 
—Waggons 159; —Watches 159. 

OILED SILK: 203, 

OILPROOF: —Cement 43 (lamp). 

OLIVE OIL: 159. 

ONION: —Kettle, deodorising, 160. 

ORANGE: —Dye 62 (aniline), 65 
(skin), 67 (wool); —Stain 215 
(aniline), 218 (paper). 

OvEN: Out-door—160. 

OXFORD FRAME: 101. 

OXIDISED SILVER: 204. 


PackKING: —Flowers 95; —Glass 
109; —Grapes 115. - 

PaIL: Cleaning milk—160; —Rack 
160 


Paint: 160-4; Black—162; Blue— 
162; — Board 161; Bronze 
powder—32-3, 162; Brown—162; 
—Brush 33; Buff—162; Chest- 
nut—163; Drab—163; —Driers 
161; Enamel—163; Flexible— 
163; Gold—163; Gray — 163; 
Green — 163; Grinding — 161; 
Indigo— 163; Injuring — 161 ; 
Keeping—161; Lake—163; Lamp- 
black—163; Lilac—163; Mahog- 
any-coloured—163-4; —Oil 161, 
158 (linseed); Priming — 161; 
Purple — 164; Red-lead — 164; 
Removing—161, the smell of, 162; 


INDEX 


Rose—164; Salmon-colour—164; 
Scarlet — 164; Shading — 162 ; 
Stone-colour—164; Tar—227-8; 
Ulitramarine—164; Vermilion— 
164; White-lead—164. 

Paint: How to, —Blackboard 162; 
—Brickwork 162 ; —Buried wood 
162 ; —Canoes 163 (flexible) ; — 
Carriages 162; —Cloth 162 
(black) ; — Floors 163; — Iron 
163 ; —Photographs 171 (colour- 
ing); —Plaster 164, 162 (black- 
board); Renovate oil — 165; 
Time for—162; —Varnish 245; 
—Windows 262; —Zinc 164. 

PAINTED: — Surfaces, washing, 
164, 

PaPER: Carbon—36, 165; Cleaning 
wall—248; Creased—165; Filter 
—87; Fireproof—165; Grease 
stains, removing from — 219; 
Greasy—165, -Hanger’s paste 
168; —Hanging 166; Ink stains, 
removing from—220; Metallic— 
165; Parchment—165; Repairing 
—166 ; Staining—218; Tracing— 
166; Transparent—166; Water- 
proof—166. 

PAPIER-MACHE: 167, 

PAPIER-POURRI: 167 (papier-maché). 

PARAFFIN: seé PETROLEUM, 

PARALLEL Bars: 167, 

PARCHMENT: —Paper 165 ; Repair- 
ing—166 (paper); —Size 204; 
Staining—218. 

Paris: —White-wash 250, 

Passe Partout: 101. 

PasTE: 167-9, 184; Bookbinder’s— 
167, 111 (glue); Glue—168 ; Metal 
polishing — 176; Office — 168; 
Paper-hanger’s—168; Perpetual 
—168; Repairing—166 (paper) ; 
Rice-flour — 168; Strong — 168; 
Waterproof—168, 168 (paper to 
metal). 

Paste: For, —Cloth 168; —Glass 
to paper 168, 168 (waterproof) ; — 
Paper to leather 168, to metal 
168, 168 (waterproof). 

' PASTE-BOARD: Hardening —36 
(cardboard). 

PaTENT LEATHER: Dressing—145; 
Polishing—176. 


287 


PaTH: Asphalt —169: Curved — 
169; Gravel—169; Sawdust — 
169. 

PAVING: Brick-work—30. 

PEACHES: Storing—224. 

PEN: Portable pig—171. 

PENCIL DRAWINGS: Fixing — 61 
(crayon); Transferring—61. 

PETROLEUM OIL: 159. 

PEWTER: Composition of—2 (al- 
loys). 

PHOTOGRAPHS: 169-71; Colour- 

-ing—171; Developing—169; Fix- 
ing—170; Printing—170; Toning 
—170; —Varnish-246, 

PICKER: Fruit—102. 

PICKLING: — Stains, 
221. 

PICTURE: —Frame 100; —Screws 
199. 

PIER BEND: 139. 


removing, 


Pic: —Pen, portable, 171; — 
Trough 238. 

PIGEON: —House 172; —Martin 
box 172. 


Pin WHEEL: 185. 

PINE: Wood, varieties of, 266. 

PIPES: Protecting lead—173; — 
Scale 198 (boiler); Thawing frozen 
—173. 

PitcH PINE: Wood, varieties of, 
266. 

PLANE: —lIrons, grinding, 115 
(tools), tempering 228; —Select- 
ing 173, 

PLANK: —Roller 192; —Wall 248; 
—Wheel-barrow 259; Wood, se- 
lecting, 264. 

PLants: Double pots for—173; 
Repotting—173; Thawing out— 
173 ;. Transplanting—173. 

PLASTER: 173-4; Bronzing—32; 
—Casts 38; Cleaning — 149 
(marble); Keeping—174; —Old 


laths, on, 174; Painting—164, 
162 (blackboard). 
PLaTE: 74-8; Copper—53, 76; 
Nickel—77; Silver—77; Tin— 
78. 


PLATING: —Copper 75; —Iron 75; 
—Lead 76; —Steel 76; —Tin 76: 
—Zinc 76. 

PLUMB Bos: 174. 


288 INDEX 

PNEUMATIC TYRES: see TyRES, | Putty: 179-80; Bread—180;Caseine 
PNEUMATIC. —40 (cement) ; Cement—44, 180; 

POINTING JOINT: Brick-work—31. Colouring— 180; Compo— 180: 

Poisoninc: —Moles 155; —Or- Lead—180; Red-lead—42 (ce- 


chard mice 151. 

Poke: Horned animal—174 ; Horse 
—174; Self-sucking—174-5. 

PouisH: 175-8; Brown Cream— 
176 (leather); Clothes box—175; 
Cream —175 (furniture), 176 
(leather); French — 175, 176 
(leather); Furniture—175; Metal 
paste—176; Oil—175 (furniture) ; 
Patent leather—145, 176; Tripoli 
—175-6 (furniture) ; Varnish—176 
(furniture). 

PoLtisH: How to, —Bone 176 
(ivory) ; —Brass 35 (burnishing) ; 


—Celluloid 177; —Chains 175; 
—Enamelled leather, 176 ; 
—Furniture 175; —Horn 176; 
—Ivory 176; —tLeather 176; 


—Patentleather 145, 176; —Stone 
177; —Varnished articles 177; 
—Vulcanite 177; —Wood 177. 

PonpD: Fish—87. 

PORCELAIN: Washing—178. 

PORTLAND CEMENT: 44. 

Posts: Fence—84; Gate—107; 
Painting—162 (buried wood). 

Pot: Glue—112. 

Potato: —Starch 221; —Vinegar 
247. 

POT-POURRI: 178. 

PotTinc: —Manure 149; —Plants 
173. 

PowDER: Bleaching—21; Bronze 
—32; Glass—109; Gold—113; 
Ink—123 (black) ; Soap—211. 

PRESERVATIVE SOAP: 211. 

Press: Barrel—7; —Flowers 95-6, 

PRINTING: —Photographic paper 
170. 

PRINTS: —Fading, to prevent, 178-9. 

PROPAGATING Box: 179. 

PROVISION COOLER: 51-2, 

Pump: —Packing 179. 

PUNCTURE: Pneumatic tyre—240-1. 

PunT: 179, 21 (boat, flat-bottomed). 

PurRPLE: —Dye 62 (aniline), 62 
(cotton), 65 (silk); —Paint 164 ; 
—Stain 218, 215 (aniline), 218 
(paper or parchment), 218 (violet). 


ment, iron, flange joint); Re- 
moving old—180; Slow drying— 
180; Softening—180; Spanish 
whiting—180. 

Putty: For, —Bone 42 (cement, 
ivory) ; —Ceilings 39; —Coral 53 
(artificial) ; Ebony 69 (artificial) ; 
—Horn 121 (imitation) ; —lvory 
42 (cement), 128 (imitation); — 
Marble 43 (cement); —Metal 43 
(cement); —Stone 43 (cement, 
marble) ; —Wood 179-80, 44 (ce- 
ment, putty), 178 (polish), 262-3 
(grainless). 

PYROGALLOL DEVELOPER: —Photo- 
graphic plates 169. . 
PyROTECHNICS: 180-7; Bengal 
fires 182, Candles 183; Crackers 
183; Dipping composition 184; 
Japanese matches 184; Lightning 
paper 184; Paste 184; Pin-wheels 
185 ; Quick-match 186; Serpent’s 
egg 186; Squib 186; Star lights 

187; Touch-paper 187. 


QUARTERING: Wood, selecting, 264. 
QUICKLIME: see LIME. 
QUICK-MATCH ; 186. 


RaspBit: —Hutch 187; —Skin, 
tanning, 227; —Trap 236. 

Rack: Cattle feeding—188 ; Cross- 
slat sheep—188 ; Egg—70; Flaring 
sheep—188; Hay—119; Pail— 
160; Portable sheep—188 ; Shed 
—189; Sheep—188; Towel—50 
(clothes-horse), | 

RAFT: 189. 

RaG CARPET: 37. 

RAKE: Garden—189; Manure— 
189; Seed—149 (garden marker). 

RAMMER: 181 (pyrotechnics). 

RAMROD: 116, 

RASP: see FILE. 

Rat: —Holes, plugging, 156 (mouse); 
—Trap 237. 

RAW-HIDE: —Leather 145. 

Razor : Sharpening—189 ; —Strop, 
cleaning, 190; Stropping—190, 


INDEX 


REAMER: 190; Tempering—228.° 

REBATING: 116. 

RED : —Dye 62 (aniline), 64 (rose) ; 
—Paint 164 (red-lead), 164 (rose), 
164 (vermilion) ; —Stain 218, 215 
(aniline) ; —Varnish 244 (coloured 
japan), (244 (lacquer); —Wash 
249 (brick). 

Rep: How to Dye, Cotton—62; 
Silk—65 ; Wool—67. 

RED: How to Stain, Horn—216 ; 
Ivory and bone—216; Paper and 
parchment—218. 

RED-LEAD;: —Cement 42 (iron, flange 
joint); —Paint 164. 

REEF Knot: 139. 

REEL: —Measure 150. 

REFLECTOR: see MIRRORS. 

RELAXING: —Insects 190. 

RESIN: Softening—190. 

REsIsT: Etching—79 (glass), 80 
(metal). 

RiBpBons: Washing—190. 

Rice: —Flour paste 168; —Wash 
250. 

Rincs: Leather—179 (pump). 

RIVETING: —Leather 145. 

Roapway: —Gate 107. 

Rock: Blasting—19 (boulders) ; — 
Boat 190; Bursting—191; Bury- 
ing—191. 

Rockery: 191. 

Rop: Fishing—89-94. 

ROLLER: Field—, substitute for, 
192; Log—191; Plank—192. 

RooFING: Felt—192; Shingle—192; 
Tar—193; Thatch—193-4. 

Root Cutter: 194. 

Rose: —Dye 64, 62 (aniline); — 
Paint 164; —Soap 212; Wax 
flower—257. 

RosEwoop: —Stain, imitation, 218; 
Wood, varieties of, 266. 

Rosin: see Resin. 

RUBBER: —Broom 33; —Cement 
44; —Joints 194. 

Ruc: Chenille —194; Cloth—194-5; 
Scrap—195; Woven—195, 37 (car- 
pet). 

RULE JOINT: 131. 

RUNNER: sce SLED. 

Rust: —Cement 42 (iron); Pre- 
venting—195; Removing—195. 


289 


Rustic: —Basket, hanging, 8; — 
Bracket 29; —Easel 68; —Gate 
107; —Hen coop 52. 

Rusty: —Nails 157; —Nuts 158 
(loosening). 


SADDLE: —Graft 114; Softening 
cycle—55. 

SAGGING : —Door 58, 

SAILoR’s KNOT: 139 (reef), 

SALMON: —Paint 164, 

SAND-PAPER: 195. 

Saw: Circular—196; Cross-cut— 
196; Filing—196; —Guide 196; 
Hand—197; —Handle 196; Kinked 
—196, 197 (tightening tenon); 
—Oil 159; Selecting—196 ; —Set 
196 ; Setting—196 ; Sharpening— 
196 (setting and filing) ; Tighten- 
ing tenon—197. 

Saw : Howto, —Glass 109 (drilling). 

SawpustT: —Path 169; —Wood 
262-3 (grainless). 

SCAFFOLDING: Portable—198. 

SCALDING TROUGH: 239, 

SCALE: Boiler—198. 

SCARLET: —Dye 65 (silk), 67 (wool) ; 
—Paint 164, 

ScENT: 198. 

SCORCHED Goops: Washing—198 

SCREEN: Magic lantern—147. 

ScrREw: —Heads, plugging, 199; 
—Holes, plugging, 199; Picture— 
199; Removing—199 ; —Rusting, 
to prevent, 157 (nail). 

SCREW-DRIVER: 198; Tempering— 
228. 

SEALING-wax: —Cement 42 (glass) ; 
—Varnish 246. 

SEASONING: —Wood 263, 

SECRET: —Nailing 157. 

SECTIONS: Microscope slide—152. 

SEED: Forcing—200; —Ornaments 
200 ; —Rake 149 (garden marker). 

SENNET PLaIT: 139-40. 

SERPENT’S EcGs: 186, 

SET: Saw—196. 

SHALLOW: —Wells 259. 


SHARPENING: —Razors 189; — 
Saws 196 nee and filing) ; — 
Tools 115 (grinding). 

SHAVING: —Soap 212; —Wood 


262-3 (grainless). 


290 


SHED: Cattle—200; Cycle—200; 
Fruit—201 ; Sheep—201. 

SHEEP: —Rack 188; —Shed 201. 

SHEEPSKINS: Tanning—226 ; Wash- 
ing—150 (mat). 

SHELF: Book—26; Hanging glass 
—202, wood 202. 

SHELL: —Basket, hanging, 8; — 
Cement 44; —Decoration 201; 
Etching—201-2. 

SHELLAC: —Cement 42 (glass), 44 
(rubber) ; —Varnish 246, 

SHIELD BUDDING: 34. 

SHINGLE: —Roofing 192-3. 

SHOE: —Blacking 19; Oil for—144 
(leather); Patent leather—145; 
Squeaking—26 (boots). 

SHOOT: —Board 202, 90 (fishing 
rods) ; —Block, mitre, 154. 

SHOVEL: Snow—210. 

SIEVE: Hand—202. 

SIFTER; Ash—4. 

SIGNWORK; —Size 204. 

SILK: Creased—203; Dyeing—64, 
62 (aniline), 62 (cotton), 65 (stone- 
colour), 67 (yellow); —Hat, dry- 
ing, 119; Oiled—203; Washing 
—203, 190 (ribbons). 

SILVER: —Cement 41 (glass), 42 
(jeweller’s); Cleaning—203 ; Etch- 
ing—79-80 (metal); Frosting— 
204; Gilding—108 (metals); — 
Lace, washing, 141; Oxidised— 
204 ; —Plating 77; Soldering— 
213, 214 (German); Testing—113 
(gold); Wet-colouring—204. 


SILVERING : —Brass 30 ; —Glass 
110; —Ivory 128. 

S1nK: Disinfecting—57. 

SIPHON: 204. 

S1zE: Cloth—50; Parchment— 


204; Signwork—204. 

SKELETON: —Leaf 143. 

SKIN : Dyeing—65, 66 (wool, black) ; 
Raw-hide—145 (leather); Tan- 
ning—226. 

SKINNING: —Birds 204-5; —Fish 
206 ; —Mammals 207. 

SLED: Coasting—208 ; Framed— 
208-9 ; Toboggan—208. 

SLEDGE: see SLED. 

SLIDES: Magic-lantern — 147-8; 
Microscope—151-4. 


INDEX 


SMOKED WALLS: Cleaning—210. 

SMOKING: —Ham 117-8. 

SNARE: sce TRAP. 

SNow: —Shovel 210. 

Soap: 210-2; Erasive—210 ; Gela- 
tine—210; Glycerine — 210-1 ; 
Hard—211; Honey—211: La- 
bour-saving—211 ; —Powder 211; 
Preservative — 211; Refining— 
211-2; Rose—212; Shaving — 
212; Soft—212; Stain-removing 
—212; Transparent—212 ; Toilet 
—212. 

Sort: —Soap 212; —Solder 213. 

SOFTENING : —Copper and its alloys 
2 (annealing) ; —Cork 53; — 
Cycle saddles 55; —Iron 2 (an- 
nealing) ; —Paint 161-2 (remov- 
ing); —Putty 180; —Resin 190; 
—Steel 2 (annealing) ; —Wood 
265 (steaming). 

SOLDER: 212-3; Brazing—213; — 
Fluxes 213; Hard—213; Soft— 
213. 

SOLDERING: 213-4; —Brass 213 
(copper) ; —Copper 213; —Ger- 
man silver 214; —Iron 214; — 
Silver 214; —Steel 214. 

SPATTERWORK: 214. 

SPIRIT-LEVEL : 145. 

SPIRIT-PROOF : —Cement 44. 

SPLICE: —Graft 114; —Knot 140. 

SPOKES: Broken cycle—55. 

SPONGES : Bleaching—20-1 ; Clean- 
ing—214. 

SPRINGS: Tempering—228. 

Souis: 186. 

Stain: Aniline—215; Black—215, 
215 (aniline), 216 (horn), 216 
(ivory and bone) ; Blue—215, 215 
(aniline), 216 (ivory and bone) : 
Brown — 215, 215 (aniline) , 
Cedar, imitation,—216; Glass, 
imitation—110; Green—216, 215 
(aniline), 216 (horn), 216 (ivory 
and bone), 218 (paper or parch- 
ment); Mahogany, imitation,— 
217; Oak, imitation—217; Oil— 
217-8; Orange—215 (aniline), 218 
(paper or parchment); Purple— 
218, 215 (aniline), 218 (paper or 
parchment); Red—218, 215 (ani- 
line), 216 (horn), 216 (ivory and 


INDEX 


bone), 218 (paper or parchment) ; 
Rosewood, imitation,—218; Vio- 
let—218, 215 (aniline) ; Walnut, 
imitation,— 219; Yellow — 219, 
215 (aniline), 218 (paper or parch- 
ment). 

STAIN: How to, —Bone 216; — 
Floors 216 ; —Gimp 108; —Horn 
216; —Ivory 216; —Mahogany 
216-7 ; —Oak 217; —Paper 218; 
—Parchment 218; —Tortoise- 
shell 216 (horn); —Veneer 218; 
—Violin 218; —Walnut 218-9. 

Stains: Acid—219; Apple—219; 
Fruit—219; Grease—219; Ink— 
220; Lime—220; Mildew—220-1 ; 
Paring — 221; Pickling — 221 ; 
Soap—212; Tar—221 ; Tea—221. 

STAKES: Flower—94. 

Stamp: —Glue 112; —Ink 125; — 
Mucilage 156. 

STaR Licuts: 187. 
STARCH: Calico—221 ; 
221; Wheat—221-2. 
STEAMING : —Wood 265. 
STEAM-TIGHT: —Cement 42 (iron, 

flange joint). 

STEEL: Annealing—2; Blackening 
—126 (iron) ; Bluing—127 (iron) ; 
Brazing—30 ; —Bronze for brass 
32; Bronzing—32 (iron); Brown- 
ing—126 (iron) ; Case-hardening 
—38; —Cement 43 (metal), 41 
(glass), 42 (iron), 43 (lamp) ; 
Drilling—61 (iron) ; Etching—80 
(metals); Galvanised — 102-3 
(iron); Gilding—108 (metal) ; 
Glue, leather to—111 ; Japanning 
—128-9 (metals); Painting—163 
(iron) ;—Paste polish 176 (metal), 
to paper 168, 168-9 (waterproof) ; 
Plating — 76; Soldering — 214 
(iron) ; Tempering—228-9; Test- 
ing—128 (iron) ; Welding—259. 

STENCILS: 222. 

STEP LADDER: 142-38. 

STICKING-PLASTER : 
(surgical). 

STILTS : 222. 

STONE: Artificial—149 (marble) ; 
Blasting—19 (boulders) ; —Boat 
190-1 (rock); Bursting — 191 
(rock); Burying—191 (rock) ; — 


Potato— 


—Cement 44 


291 


Cement 44, 41 (dry), 42 (iron), 43 
(marble), 43-4 (mosaic) ; Clean- 
ing—222, 149 (marble) ; —Colour 
dye 65, paint 164; Drilling—149 
(marble); Ink stains, removing 
from—220 (marble) ; Polishing— 
177; Repairing—149 (marble) ; 
—Wash 250. 

STOPPERS: Removing glass—222. 

STORING: —Beans 223; —Beets 
224; —Cabbages 223; —Celery 
223 ; —Fruit 222; —Grapes 223; 
—Hams 118; —lIce 123; 
Peaches 224; —Turnips 224; — 
Vegetables 222. 

Stove: —Blacking 19. 
STRAIGHTENING: —Saws 194 
(kinked), 197 (tightening tenon) 

—Wire 262. 

Straw: Bleaching—21; Dyeing-— 
65; —Manure 149. 

STRIPING BrRusH: 34. 

STROP: Razor—190. 

Stucco: 224, 

Stumps: Blasting—224; Burning 
—224, 

SuGARING: —Moths, for, 224, 

SUMMER-HOUSE: 224-6. 

SURFACE-PLATE: 226. 

SURGICAL: —Cement 44. 

SwEET: —Glue 112 (stamp). 


TABLE: Chess—46 (board); Small 
out-door—226. 

TANNING: —Skin 226, 

Tar: —Concrete 51; —Paint 227- 
8; —Roofing 193; —Stains, re 
moving, 221. 

TARPAULIN: 228, 

TaTTING: Washing—228. 

TEA: —Stains, removing, 221. 

TEAK: Wood, varieties of, 266, 

TEMPERING: 228-30. 

TENNIS-COURT: Asphalt—230; 


Cinder — 230; Concrete — 230; 
Gravel—230. 

TENON: —Joint 132; —Saw, tight- 
ening, 197. 


TERRA-COTTA: —Cement 41 (crock- 
ery), 43-4 (mosaic), 44 (stone); 
Repairing—230-1. 

TETHER: 231. 

THATCH RooFING: 193-4. 


292 


THAWING: —Frozen pipes 173; — 
Plants 173. 

THERMOMETER: 231. 

THREAD: Dyeing—66. 

TILE; —Cement 41 (crockery), 43-4 
(mosaic), 44 (stone). 

TIMBER HitTcuH Knor: 140. 

Tin: —Cement 43 (metal), 41 
(glass), 42 (iron), 42 (jeweller’s), 
43 (lamp); Etching—79-80 (met- 
al); Frosting — 231 (tin-plate) ; 
Gilding — 108 (metals); Glue, 
leather to—111; Japanning—128 
(metals); Paste, paper to—168; 
—Plate 78; Plating—76; Solder- 
ing—213-4. 

TINNING: 231. 

TIN-PLATE: Frosting—231. 

TIN-WARE: Cleaning—232. 

TOBOGGAN: 208. 

TONGUE JOINT: 133. 

TONING: —Photographic paper 170. 

Toots: Grinding—115-6; Temper- 
ing—228-30. 

TORTOISE-SHELL: —Cement 44; — 
Stain 216 (horn), 

TOUCH-PAPER: 187. 

TOWEL-HORSE: 50 (clothes-horse). 

TRACING: —Paper 166. 

Track: Half-mile running—232. 

TRANSPARENCY: Engraved — 232; 
Statuesque—232; Varnish—243 
(glass). 

TRANSPARENT: —Paper 166, 166 
(tracing); —Soap 212; —Wax 
258. 

TRANSPLANTING: —Plants 173; — 
Trees 237. 


TRAP: 232-7; Beetle—232; Box— 


233; Disinfecting — 233; Drop- 
door — 233; Figure-four—233-4 ; 
Gin—234; Half-hoop—234-5 ; In- 
sect—235; Line—235; Minnow 
—235; Mole—235; Moth—235; 
Mouse—235-6 ; Rabbit—236; Rat 
—237. 

TRAVELLER’S: —Ink 123, 

TREE: Broken branches on—237; 
—Cement 45; Felling — 262 
(wood); Killing—262 (willows) ; 
Protecting — 237; Replacing — 
237 ; Root-grown—237 ; —Split- 
ting 237 ; —Stumps, blasting, 224, 


INDEX 


burning, 224; Transplanting — 
237-8; —Wash 250; —Wax 114-5 
(grafting); Wounded—238. 

TRICYCLE: see CYCLE, 

TRIPLETREE: 238. 

TROUGH: Hollow-log—238; Pig— 
238 ; Scalding—239; Watering— 
239. 

Truck: Barn—239. 

TRUE Knor: 139 (reef). 

TURKISH: —Cement 41 (glass). 

TURNIPS: Storing—224. 

TURPENTINE OIL: 159. 

TuRTLE Knot: 140-1. 

TYPE-WRITER: —Ink 125. 

TyRES, PNEUMATIC: Bands on— 
239; Burst—239; Double tube— 
239; Punctured — 240; Single 
tube—241-2; —Valves 240-1. 


ULTRAMARINE: —Paint 164. 


VALVE: Pneumatic tyre—240-1. 

VARNISH: 242-6; Amber — 242; 
Black — 242; Brass-coloured — 
242; —Brush 34; Cheap—242-3; 
Chinese — 243; Chromo — 243; 
Cleaning — 246; Copal — 243 ; 
Crystal—243 ; Glass—243 ; Green 
—243; Japan—243-4; Lacquer— 
244; Mother-of-pearl—245; Oak 
—245; Photographic—246; Pol- 
ish—175 (furniture); Removing— 
246; Sealing-wax—246; Shellac 
—246. 

VARNISH: For, —Leaves 144; — 
Leather 245 ; —Microscope slides 
154; —Oak 245; —Oil-paintings 
245; —Ornamental wood 245-6; 
—Violins 246. 

VARNISHED ARTICLES: Cleaning— 
246 ; Polishing—177. 

VasSE: Bark—246; Bowl— 246; 
Box — 246; Log cabin — 246; 
Rustic—246-7. 

VEGETABLE: —Shed 201 (fruit) ; 
Storing—222-4. 

VELVET: Nap on—247. 

VENEER: 247 ;—Stain 219. 

VERMILION: —Paint 164; —Varnish 
244 (japan, coloured). 

VINEGAR: Apnple—247 ; 


Potato— 
247. 


INDEX 


VIOLET: see PURPLE. 
VIOLIN: —Stain 219; 
247; —Varnish 246. 
VuULCANITE: Polishing—177. 


—Strings 


WaGGON: see CARRIAGE. 

WaLL: Cleaning smoked — 210; 
Damp—247-8 ; —Paper, cleaning, 
248; —Papering 166; Plank— 
248. 

WALNuT: —Stain 218, imitation, 
218-9; Wood, varieties of, 266. 

WARDROBE: 248. 

WARPED : —Wood 266. 

WasH: 248-51; Branards—249 ; 
Brick—249; Brown—249; Calci- 
mine—249; Colouring—249 ; Cop- 
peras water—249; Fireproof— 
249, 250 (oil); Flax-seed—249 ; 
Glue—249; Hard—249-50, 250 
(white) ; Lead—250; Milk—250 ; 
Oil—250; Paris white—250-1; 
Rice—250; Tar—227-8 (paint) ; 
Stone—250 ; Tree—250; White 
—250-1; Yellow—251; Zinc— 
251. ; 

WASHING : see CLEANING. 

Watcu : —Oil 159. 

WaTER: —Butt 35; —Filter 87; 
Hard—251; Impure—251 ; 
Plants 3 (aquarium) ; Purifying— 
251; Seeing under—251-2. 

WATER-GLASS : —Cement 45. 

WATERING : —Trough 239. 

WATERPROOF: —Blacking 19; — 
Cement 45, 40. (acid-proof), 40 
(aquarium), 40 (cask), 40-1 (china), 
41 (glass), 42 (iron, flange joint), 
43 (lamp), 43 (leather), 44 (port- 
land), 44 (rubber), 44 (stone); — 
Cloth 228 (tarpaulin) ; —Cork 53; 
—Ink 125; —Leather 145; — 
Matches 150; —Paper 166; — 
—Paste 168-9, 168 (paper to 
metal) ; —Wash 250 (stone). 

Wax: —Casts 258 (modelling), 258 
(moulding a We Cobbler’s— 
252; —Filler 180 (putty, compo) ; 
—Flowers 252-8 ; Grafting—114- 
5; Modelling—258 ; Moulding in 
—258 ; Transparent—258. 

WaxINnG: —Leaves 144, 


293 


WEAVER’S Knot: 141. 

WELDING: 259. 

WELL: Cistern—48; Foul air in— 
259 ; Shallow—259. 

WET: —Colouring silver 204, brass 
30 ; —Mounting microscope slides 
153-4, 

WueatT: —Starch 221-2. 

WHEEL: Cycle—56; Emery—78; 
—dJack 261; Wind—262. 

WHEEL-BARROW: 259-61. 

WHET-STONE: 159 (oil-stone), 

WHIPPLE-TREE: 261. 

WHISKY: —Glue 112. 

WHITE: —Glue 112; —Lead paint 
164, putty 180; —Metal 2 (alloys); 
—Wash 250-1. 

WHITING : —Putty 180. 

Wick: Lamp—143. 

WICKER-WORK: —Cement 41 (glass, 
Chinese) ; Dyeing—66; Washing 
—36 (cane-work). 

WILLows: Killing—262. 

WINDOW: —Box 29; Holding up— 
262; —Medley 151; Painting— 
262; Rattling—262. 

WIND-WHEEL: 262. 

WINE: —Barrel 7; —Filter 87. 

WIRE: —Basket, hanging, 8; — 
Fence 85, 100 (fowl-yard) ; 
Straightening—262; —Strainer 
85 (fence). 

Woop: —Cement 42 (iron), 44 
(stone), 45 (tree); —Chisel 47; 
Felling—262; Grainless—262-3 ; 
Grease stains on—219-20; Har- 
dening—263; Imitation inlaid— 
126; Japanning—129; Knotting 
—141; —Polish 177-8, 175 (furni- 
ture); Preserving—263; Season- 
ing—263-4; Selecting—264; Split- 
ting — 264-5; Steaming — 265 ; 
Varieties of—265-6; Warped— 
266 ; Worm-eaten—267. 

WooL: —Ball 5; Bleaching—21 ; 
Cleaning—267 ; Dyeing—66, 62 
(aniline), 62 (cotton), 65 (stone- 
colour), 67 (yellow). 

WoORM-EATEN : —Wood 267, 

WRITING INK: Black—124; Blue 
—124; Gold—124; Green—-124; 
Red—125; Violet—125. 


294 INDEX 


YARD: Fowl—100. ZAPON VARNISH: 246 (photogra- 
YELLOw: —Dye 67, 62 (aniline) ; phic). 
—Stain 219, 215 (aniline); — | Zinc: Casting—38 (metals); — 


Varnish 242 (brags-coloured), 244 | Cement 43 (metal), 41 (glass), 42 
(coloured, japan), 245 (lacquer) ; (iron), 42 (jeweller’s), 43 (lamp) ; 
—Wash 251. Etching —79-80 (metal); Glue, 
YELLOw: How to Dye, Cotton—62.| leather to—1ll1; Japanning— 
. How to Stain: Paper or 128 (metal) ; —Ink 125-6; Paint- 
parchment—218. ing—164; Plating—76; Soldering 
Yew: Wood, varieties of, 266. —213-4; —Wash 251, 


PRINTED IN GREAT BRITAIN BY THE UNIVERSITY PRESS, ABERDEEN 


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33 40 2516 


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